ly, so that a German visitor toward
the close of the sixteenth century was able to wax enthusiastic as to
its splendour. Above the public entrance near the Fountain Court is
the great Royal Pew--entered from the Haunted Gallery--with a painted
ceiling.

Though the Chapel dates from Tudor times, it must be remembered that
its interior was rearranged and redecorated in the reign of Queen
Anne, and that those responsible for the work were by no means
hampered by any pedantic ideas of congruity. A matter of grievance to
many visitors is that the Chapel is not thrown open to the public. It
can only be seen at service time.

VI

Entirely different is the impression which we take away with us of the
Orange portion of Hampton Court Palace from that which remains in
memory of the Tudor parts. From the west and north we see nothing but
the medley of red brickwork, gables, turrets, and irregular
chimneystacks. From the east and south sides we get views that
contrast greatly with those of the older portions. Here we have long
straight fronts broken with many stone-framed windows, and surmounted
by a regular stone parapet that quite inadequately masks the more
modern chimneystacks. These south and west fronts are sometimes
criticized by those who regret the parts of the Tudor palace
demolished to make room for them, but they are by no means wanting in
either dignity or beauty. Their red brick--less rich in tone than that
of the Tudor buildings--is much broken with white stone ornamentation,
and the southern side as seen from the gardens through massed shrubs
is particularly fine. This part of the palace probably remains in the
memory of most visitors as being Hampton Court, and it is only natural
that it should be so, for it is the portion mainly seen from the
grounds, and it is the portion with which visitors make the most
intimate acquaintance--for within it, on the first floor, are the many
State Rooms in which are hung the magnificent collection of pictures.

To reach the State Rooms, as has been said, we enter the Clock Court
and catering across it to the right pass under the colonnade which
uglifies the front of Wolsey's rooms, and so come to the King's Great
Staircase by which the public reaches the galleries. This staircase,
its walls and ceiling painted by Verrio, has on the whole a somewhat
sombre and certainly unpleasing effect. It is true that we have in it
one of the most notable examples of Verrio's decora