The third room, which was the late Queen’s apartment, is adorned with very beautiful tapestry, representing a Dutch winter piece, and the various diversions peculiar to the natives of Holland, done by Mr. Vanderbank. Over the chimney is an admirable picture of King Charles II. King James II. and their sister the Princess of Orange, when children, by Vandyck.
In the fourth room is the picture of a battle or skirmish between the Germans and Italians, by Holbein. Another of Danae descending in a shower of gold, and another of the widow Eliot finely executed by our countryman Riley.
In the fifth room is a picture of the crucifixion, and another of our Saviour laid on the cross, both by Titian: of our Saviour calling St. Matthew from the receipt of customs, by Annibal Caracci; and of his healing the sick in the temple, by Verrio: a picture of Henry IV. of France, by Titian: two heads of Queen Mary I. and Queen Elizabeth, when children, by Holbein: the late Queen Anne, when an infant, by Sir Peter Lely: and several heads by Raphael.
In the sixth room, or rather gallery, are the pictures of King Henry VIII. and Queen Katharine of Arragon, both by Holbein: King Philip of Spain, and Queen Mary, by the same hand: King James I. by Vandyck: King Charles II. the face by Sir Peter Lely: Queen Elizabeth in a Chinese dress, drawn when she was a prisoner at Woodstock: King James II. when Duke of York, and another of his Queen, both by Sir Peter Lely: King William and Queen Mary in their coronation robes, by Sir Godfrey Kneller. Sir Godfrey was knighted on his painting these pictures; King William being doubtless pleased with so fine a picture of his Queen. The next is Queen Anne, after Sir Godfrey Kneller; and a picture of Queen Caroline, which is but poorly executed. In this room is a curious amber cabinet, in a glass case; and at the upper end a beautiful orrery, likewise in a glass case.
The seventh, which is called the Cupola room, has a star in the center, and the ceiling all around is adorned with paintings in mosaic: round the room are placed at proper distances, eight bustos of ancient poets, and six statues of the heathen gods and goddesses at full length, gilt. Over the chimney piece is a curious bas-relief in marble, representing a Roman marriage, with a busto of Cleopatra, by Mr. Rysbrack.
In the King’s great drawing room, over the chimney, is a very fine picture of St. Francis adoring the infant Jesus, held in the lap of the Virgin Mary, Joseph attending, the whole performed by Sir Peter Paul Rubens. In this room are also the holy family, finely painted by Paul Veronese: three priests, by Tintoret: a noble picture of St. Agnes over one of the doors, by Domenichino: St. John Baptist’s head, Mary Magdalen, and a naked Venus, all by Titian: a Venus in a supine posture, stealing an arrow out of Cupid’s quiver, with beautiful ornaments in the high gusto of the Greek antique, representing Love and the Drama, by Jacobo da Puntormo; upon the original out-lines of the great Michelangelo Buonarroti: a picture of Villars, Duke of Buckingham, and his younger brother, when boys, one of the capital pieces of Vandyck: two large pictures by Guido Reni, one of Venus dressing by the Graces; the other of Andromeda chained to a rock: our Saviour in the manger by Bassan; and a picture of part of the holy family, by Palma the elder.
The ceiling of this room, in which there is such a mixture of sacred and prophane pieces, is painted with the story of Jupiter and Semele.
In the state chamber, the bed is of crimson damask; and over the chimney is a picture of our Saviour and St. John Baptist, by Raphael.
In the state dressing room the hangings are all of needle work; a present from the Queen of Prussia. Here is a picture of Edward VI. by Holbein; of a young nobleman of Venice, by Tintoret; another young nobleman of the same place, by Tintoret; and Titian’s lady, painted by himself.
The Painted gallery is adorned with many admirable pieces. At one end is King Charles I. on a white horse, with the Duke d’Espernon holding his helmet; the King is an august and noble figure, with some dejection in his countenance; the triumphal arch, curtain, and other parts of the back ground, are finely executed, and so kept, that the King is the principal figure that strikes the eye; at a little distance it has more of the life than a picture, and one is almost ready to get out of the horse’s way, and bow to the King.