igures
of saints and martyrs, and the opposite side is filled with a group of
female saints.

In the centre compartment below is represented the Virgin Mary in the
clouds, standing on the crescent, surrounded by the twelve Apostles
and many cherubs. But the two remaining portions of this fine tapestry
constitute its chief value and importance to the city of Coventry, as
they represent the figures of Henry VI., his Queen, the ambitious, and
crafty, and cruel, yet beautiful and eloquent and injured Margaret of
Anjou, and many of their attendants. During all the misfortunes of
Henry, the citizens of Coventry zealously supported him; and their
city is styled by historians "Queen Margaret's secret bower." As the
tapestry was purposely made for the hall, and probably placed there
during the lives of the sovereigns, the figures may be considered as
authentic portraits.

* * * * *

The first Presence Chamber in Hampton Court is (or was) hung with rich
ancient tapestry, representing a landscape, with the figures of
Nymphs, Fawns, Satyrs, Nereides, &c.

There is some fine ancient tapestry in the King's Audience Chamber,
the subjects being, on one side, Abraham and Lot dividing their lands;
and on the other, God appearing to Abraham purchasing ground for a
burying-place.

The tapestry on the walls of the King's Drawing-Room represents
Abraham entertaining the three Angels; also Abraham, Isaac, and
Rebecca.

The tapestry which covers three sides of the King's State Bedchamber
represents the history of Joshua.

The walls of the Queen's Audience Chamber are covered with tapestry
hangings, which represent the story of Abraham and Melchisedec, and
Abraham and Rebecca.

The Ball Room is called also the Tapestry Gallery, from the superb
suite of hangings that ornament its walls, which was brought from
Flanders by General Cadogan, and set up by order of George I. The
series of seven compartments describes the history of Alexander the
Great, from the paintings of the celebrated Charles le Brun. The first
represents the story of Alexander and his horse Bucephalus; the
second, the visit of Alexander to Diogenes; the third, the passage of
Alexander over the Granicus; the fourth, Alexander's visit to the
mother and wife of Darius, in their tent, after the battle of Arbela;
the fifth, Alexander's triumphal entrance into Babylon; the sixth,
Alexander's battle with Porus; the seventh, his second entrance