The right hand division of this tier is occupied with sundry figures 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 into Babylon.—These magnificent hangings were wrought at the Gobelins.
The tapestry hangings in the king’s private bedchamber describe the naval battle of Solebay between the combined fleets of England and France and the Dutch fleet, in 1672.