Hampton Court Palace

Hampton Court Palace

An introduction to the visitor routes

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Summary of Routes

Dates for Key People Cardinal Wolsey, c1475-1530. Henry VIII, 1509-47 William III, 1689-1702 and Mary II, 1689-94 Queen Anne, 1702-14, Prince George of Denmark, 1702-08 George II, 1727-60, Caroline, 1727-37

Courtyards • Tudor, Baroque • View the buildings from the outside and see how different monarchs left their mark • See some of the lesser known side courtyards as well as the main processional ones • Allow 15 minutes

King Henry VIII’s Apartments (10 rooms)

• Tudor period • Highlights: Great Hall with its Hammerbeam Roof designed by James Nedeham and Christopher Dickenson for Henry VIII; the Royal Pew designed by Sir Christopher Wren for William III and Mary II in the English Baroque style • 6 magnificent tapestries from the life of Abraham series in the Great Hall and six in the Great Watching Chamber, including three from Cardinal Wolsey’s collection • Very important Tudor dynasty paintings and the iconic portrait of Henry VIII (after Holbein) • Processional Route and Haunted Gallery • Allow 35-45 minutes

The Chapel Royal The Chapel Royal has been in continuous use as a place of worship for about 500 years. It is a part of the ecclesiastical Household of HM The Queen and there are daily services throughout the year. Visitors are asked to respect this when visiting. There are no tours but warders and very often chapel stewards are on duty who will be able to answer any questions.

• Period: Tudor, Stuart and Georgian periods • Originally built for Cardinal Wolsey and added to by Henry VIII. Sir Christopher Wren refitted the Royal Pew for William III and Mary II in the Baroque style and remodelled the body of the Chapel for Queen Anne. • Highlights: The Royal Pew; the Chapel ceiling, whose restoration was directed by Augustus Pugin in the second half of the 19th century; the Altar Screen or Reredos designed by Nicholas Hawksmoor for Queen Anne and carved by Grinling Gibbons • Trompe l’oeil window showing Fountain Court; walls painted for Queen Anne • Allow 20 minutes

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Henry VIII’s Kitchens (9 rooms)

• Tudor period • Built for Henry VIII • Highlights: Fish Court, an example of environmental architecture; Wolsey’s original kitchen; Henry VIII’s original great roasting fireplace • Kitchens presented to evoke the look, sound and smell of the Tudor kitchens of the 1530s, when the kitchens would have been preparing food for over 600 people, twice a day. All the kitchen implements are based on Tudor survivals. • Experimental food historians work in the kitchens as part of their research into Tudor food. See website for details of special event days when you can watch the cooks at work. • Allow 20 minutes

Young Henry VIII’s Story (8 rooms)

• Tudor period • The early life of Henry, when he was admired at home and abroad as a cultured, well educated, and handsome Prince and married to the Spanish Princess, Katherine of Aragon, and before he developed into the tyrant of legend • Located in the Wolsey rooms, a suite of apartments built by Thomas Wolsey in the 1520s • Important Tudor history paintings • Audiovisual displays, interactive touch screens and historic quotes as well as paintings from the time of Henry VIII • Allow 20-30 minutes

William III’s Apartments (16 rooms)

• Stuart period • Sir Christopher Wren, assisted by Sir Nicholas Hawksmoor, designed the apartments for William III and Mary II • Highlights: Antonio Verrio’s wall and ceiling paintings; Van Dyck and Kneller paintings; the master craftsman, Grinling Gibbons’ stone and wood carvings; Queen Mary’s blue and white porcelain collection • Notice how the decoration and furnishings become increasingly elaborate and costly as you progress through the state rooms, and the contrast between the formal rooms upstairs and William’s private apartments downstairs • Chandeliers, wood carvings, pier glasses, tapestries • Allow 35-45 minutes

Georgian Private Apartments (14 rooms) Georgian Private Apartments: Cumberland suite will be closed until November 2014 when a new Art Route opens. The majority of the Georgian Private Apartments will be opened up as part of the Georgian exhibition at Easter 2014 • Tudor, Stuart, Georgian periods • Cumberland Suite designed by the fashionable 18th century Page 3 of 62 January 2014

architect William Kent in the Gothic style for the Duke of Cumberland, youngest son of George II and Caroline; the Cartoon Gallery designed by Sir Christopher Wren for William III • Highlights: Italian Old Masters in the Cumberland Suite; Wolsey Closet, part of the original Tudor palace • Tapestries, paintings, Grinling Gibbons’ carvings, Chinese and Japanese porcelain • Allow 20-30 minutes

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The Courtyards

Recommendations

Don’t Miss • Da Maiano Terracotta Roundels • Henry VIII’s Gatehouse • Henry VIII’s Great Hall (outside view) • Astronomical Clock

Brief History Hampton Court Palace is not one building, but many, gathered around a series of interconnecting courtyards which have been constructed, reconstructed and added to at different times over its life.

Hampton Court started as a manorial estate owned by the Knights Hospitallers of the Order of St John of Jerusalem providing guest house facilities and renting out land. Members of the royal family had been using it as a staging post between their riverside properties since the 14th century. In 1494 it was leased to the courtier, Giles Daubeney, who was to become Henry VII’s Lord Chancellor, and who transformed the estate into a courtier’s brick built manor house, grand enough to receive the royal family. Cardinal Thomas Wolsey leased the house in 1514 and turned it into accommodation sumptuous enough to entertain Henry VIII and receive foreign dignitaries. By 1525 Hampton Court was a palace fit for a king and Wolsey formally presented it to Henry, although Wolsey continued to use it until he fell from favour and Henry VIII took it over in 1529. Henry then embarked on massive building programmes which lasted until 1539. The next big change came in 1689 when, soon after their accession, William III and Mary II commissioned Sir Christopher Wren to draw up plans to turn Hampton Court into a baroque palace to rival Louis XIV’s Versailles in France. The original plans had involved pulling down the whole of the Tudor palace, apart from the Great Hall. However, owing to lack of time and money, Wren was restricted to rebuilding the King’s and Queen’s main apartments, which can be seen from Fountain Court, so much more of the Tudor palace remains than had been originally planned.

Outer Green Court Henry and important guests would have arrived by river and entered the palace through the Privy Garden via the Water Gallery. This had been constructed in 1536, and incorporated a landing stage for the king’s barge

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with a pleasure gallery above. However the main land approach to the palace was from the west. To begin with the front of the palace was a building site but once Henry’s major building work had been completed, the area in front of the palace was cleared, providing the opportunity to create an imposing forecourt. In 1535-6 Henry VIII erected a gate where Trophy Gate is at present and a wall stretching to the palace along the north side of a new forecourt, soon to be known as “Outer Green Court”.

Trophy Gate Trophy Gate was commissioned by William III and Mary II and installed under Sir Christopher Wren. It consists of four piers with bases, and pedestals made of Portland stone. The central piers on either side of the gate show the two most famous of the heraldic royal beasts, the lion and the unicorn, and were erected in July 1701. The two outer piers with a suit of armour with flags, shield and axe, bow, arrow and trumpet were erected in November of the same year. The very fine lion and unicorn statuary on the piers was sculpted by Grinling Gibbons and then cast in bronze by John Oliver. The actual gates were not put in place until January 1767. (Oxford Archaeology). At some point the gates were taken down as in 1892 there is a reference to the gates being re-erected between the Trophy Gate pillars. The purpose of which was to keep out ‘tight men’ and ‘loose women’, attracted to the Old Toye Inn, which stood just outside the gates, and the Barrack Block canteen which had been there since the 1870s.

Pear Tree Gate Pear Tree Gate is the entrance to the Clore Learning Centre. It was installed in 2007 when the new building was opened, the first new build on Palace land in over 100 years. The Gate was designed by Jill Watson, who also made the unique door handles for the new building. In the 15th and 16th centuries orchards stood on the site and reference is made to this by the ‘tree of knowledge’ on the gate.

Barrack Block Originally Charles II’s timber framed cavalry barrack block was sited here. In 1689 this was replaced by two separate blocks of barracks for William III’s Foot and Horse Guards as protection for the new and vulnerable monarch. These were the earliest purpose-built barrack blocks in Britain. The one to the left was for cavalrymen and their horses. The ground floor is now the Welcome Centre and shop and two rows of 19th century metal stable posts can still be seen there. It is thought there would have been room for c40 horses on the ground floor and c40 cavalry men in the above two rooms. The building to the right was for foot soldiers who occupied both the ground and first floors. In 1700 they were joined together by building a sutlery or provision room in the space between the two blocks. By the late 19th century the Barrack Block had been turned into Grace and Favour apartments and the parade ground in front of the Block was grassed over (c1889-1900).

Houses of Offices (West Front waterside) These were finally demolished in 1878. See Appendix for more information.

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Seymour Gate/Great House of Easement Visitors who came by land to the Palace would pass through Outer Green Court. Important, high status visitors would then go through the main Gatehouse, whereas servants, household officers or tradesmen delivering palace supplies, would be directed to what is now known as Seymour Gate, the service entrance on the left, which led to a warren of small courtyards, kitchens and offices. This wing with its new gatehouse was added to the palace by Henry VIII in 1529-30 and was built over Wolsey’s moat where he had constructed a bridge giving access to his service yard. (P45 Thurley) Once Henry’s building work was completed, the moat went beneath the new range and the drains from the kitchen ran under that.

Henry VIII added a matching wing on the right in 1535-6 which contained a number of new lodgings and the palace’s public toilets, thus restoring symmetry to the building. In Elizabeth’s time it became known as the Great House of Easement. Occupants sat on boards with 28 circular holes arranged on two levels. The discharge fell into a walled section of the moat close to the river and was flushed out into the Thames with the tide. Men called ‘gong scourers’ had the unpleasant though relatively well paid job of clearing the waste that had adhered to the walls. From 1759-1838 it was the home of the Lady Housekeepers and, when that post was abolished by Queen Victoria, it became one of the Grace and Favour apartments. It is now known as Apartment 39 and houses the offices of the Chief Executive.

Moat Bridge A moat possibly surrounded the four sides of the Knights Hospitallers and certainly the Daubeney buildings. Wolsey filled in Daubeney’s moat on the west side of his building (which would have been in front of what is now the Anne Boleyn Gateway) and south side (so that the grounds extended to the Thames) and a new moat dug further west to incorporate the buildings in Base Court. (Presumably he left the moat on north and east sides). He was thus left with an unusual three sided moat, the River Thames forming a natural barrier on the south side. According to Thurley, Wolsey’s moat was dry with a wooden bridge. Henry replaced this with a brick bridge in 1535. However Hampton Court is a palace not a fortress and the moat was for display rather than defensive purposes (it was only 25 ft across).

The moat which was filled in during Charles II’s reign, seems to have been lost in subsequent years and was re-discovered in the early 20th century. The moat was dug out in 1908, the bridge restored and the work completed in 1911. (This had been delayed by the death of Edward VII in 1910.)

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King’s Beasts The bridge, in common with all the works begun with such enthusiasm after Anne Boleyn’s coronation, was in actuality completed in the reign of Queen Jane. Anne’s leopard had no sooner replaced the pomegranate of Katharine of Aragon than it was being carefully converted into the panther of Jane Seymour. The 12 King’s Beasts guarding the moat bridge today are copies made in 1950 of an earlier set made in 1910. The original beasts from 1911 were designed by the heraldic scholar Rev. EE Doiling. They were cleaned/conserved in 2009 for Henry VIII’s 500th anniversary.

Roundels Wolsey commissioned the eight brightly glazed terracotta roundels of a classical figure in 1521 from a Florentine sculptor, Giovanni da Maiano, as a statement of his classical learning and cultural sophistication. Although well known in Renaissance Italy, this was a new style of decoration in England and are some of the earliest Renaissance sculptures produced in England. Maybe Wolsey and Henry identified with these leaders of the ancient world.

There are now 11 roundels at Hampton Court. The two roundels above the Gatehouse, Tiberius on the left and Nero on the right, are additional to those originally commissioned by Wolsey. They were added to the Gatehouse by the Victorian Surveyor Edward Jesse after he found them in a cottage in Windsor Park (Thurley p 24). They were possibly brought from the long demolished Holbein Gate at Whitehall Palace.

West Gate

Don’t Miss • Henry VIII’s coat of arms with a lion and a dragon in the middle of the Gatehouse was added by Henry in 1530 • Henry VIII replaced Wolsey’s great doors and it is Henry’s doors you see today. They were removed possibly around 1771 and reinstalled during the 1882 restoration work • Victorian vaulted ceiling

The Great Gatehouse was completed in 1521 for Cardinal Wolsey and was designed as a grand entrance to the palace. Originally it had five storeys topped with onion domes but it was never completely stable (maybe the foundations had been weakened as it was constructed on the edge of the moat). Six unsuccessful attempts were made to strengthen it by underpinning and partial rebuilding but in 1770 it was remodelled by Sir William Chambers and Page 8 of 62 January 2014

reduced in height by two storeys to the three storey building you see today.

The vault in the Gatehouse was restored in 1882 and replaced an earlier fan vault which was still visible in 1821. It is carved in Bath stone and in the centre is the Royal Arms that was adopted by Queen Victoria and which has been used by all Sovereigns since. It is surrounded by the Garter, and then around that are 12 bosses incorporating Queen Victoria’s cypher as well as references to Cardinal Wolsey e.g. a cardinal’s hat, TC for Thomas Cardinalis. The ceiling crests were re-gilded and the diaper brickwork on the walls was re-stained in 2009 for Henry VIII’s 500th anniversary celebrations.

Base Court1

Don’t Miss • Henry VIII’s Coat of Arms with the dragon and greyhound behind you on Great Gatehouse (east facing side) compliments that on front of Gatehouse • Two Queen Elizabeth I crests on the turrets on either side of the gatehouse dated 1566 • 50 chimneys can be seen from this courtyard. (The Palace has over 411 chimneys of which 241 are Victorian or later) • The wine fountain was installed in 2010, based on the fountain appearing in the Tudor painting The Field of the Cloth of Gold.

This huge outer courtyard was built to impress by Wolsey, providing magnificent, if cramped, accommodation for members and guests of the court. Behind the windows the lodgings were entered from a continuous internal gallery on three sides of the courtyard with a single entrance. This enabled guests to circulate within the courtyard whilst keeping dry and warm. There were 40 guest lodgings (Lucy Worsley says 30), each with an outer and inner room warmed by a fireplace, and its own private toilet which discharged into drains running beneath the courtyard and out to the river.

It is one of the best surviving parts of Wolsey’s Hampton Court although, according to Thurley, the original external stonework in Base Court is now lost and has been replaced with 19th century or later restorations. Much of the original brickwork has also been replaced, especially on the parapets and around windows but, again according to Thurley, enough remains to

1 There is an ongoing programme of conservation works to the external facades and roofs of Hampton Court. Currently focussing on the building range to the north of Anne Boleyn’s Gateway and includes the west façade of the Great Hall. Due for completion May 2014. Page 9 of 62 January 2014 show that it was covered in a diamond diaperwork pattern constructed of burnt headers (brick ends).

The cobbles were relaid in 2009 to bring the courtyard closer to what it would have looked like in Wolsey’s time. The cobbles which were used were the size of those used in Wren’s time (Wolsey’s/Henry’s ‘peblyls’ would have been much smaller). It had been grassed over in 1891 in the mistaken belief that this was how it appeared in Tudor times.

Anne Boleyn’s Gateway

Don’t Miss • Henry VIII’s Coat of Arms on front of (west facing) Anne Boleyn’s Gateway showing a lion and a dragon. It was added in 1530, possibly a substitute for a terracotta panel • On this same side are the two Maiano roundels of Trajan and Hadrian2 • Look up at the Tudor rose, the Prince of Wales feathers, Beaufort portcullis, Anne Boleyn phoenix in the Gateway vault which are Victorian copies of the originals, including Henry and Anne’s initials.

This middle gateway, now called Anne Boleyn’s Gateway (or Inner Gatehouse) was re-built in 1880 and takes you through to Clock Court. Wolsey’s original vault in the Gatehouse was replaced by Henry with a fan vault bearing his and Anne’s initials. Henry also added the processional staircase on the left up to the Great Hall.

Clock Court This court is the heart of the Palace and is named after the magnificent Astronomical Clock. For over 300 years monarchs and their architects and craftsmen have been changing the buildings to suit their needs which has resulted in a mixture of architectural styles: Tudor, mock Gothic, Baroque.

Looking West (back to Gateway)

Don’t Miss • On the east facing side of the Gateway are two Maiano roundels of Vitellius and Augustus. The roundels are not a matching set: Augustus is glazed in striking black, white and yellow. The others were originally painted and gilded which would have hidden the contrasting fabrics of the busts and the roundels that frame them. • In the middle of the east facing side of the Gateway is Wolsey’s terracotta coat of arms held up by a pair of putti (c1525). Henry VIII covered them up with his own arms in 1531 but Wolsey’s were rediscovered and restored in 1845

2 Trajan roundel covered for conservation cleaning (Nov 2013) Page 10 of 62 January 2014

The Astronomical Clock testifies to Henry’s great enthusiasm for scientific learning. The clock was probably designed by the “deviser of the king’s horologies”, Nicolaus Kratzer, a Bavarian. Its complex gears and gilded dials depict a medieval world in which the sun orbits the earth and were made in 1540 by a young Frenchman, Nicholas Oursian. The clock’s most cunning device was its ability to tell the time of high water at London Bridge, essential information for Henry and his court when tides governed travel to and from the palace. (For more information see Appendix).

An ancient bell, which chimes every quarter, hangs in the tower above the inner gatehouse and the Astronomical Clock. It is mentioned in a lease of Daubeney’s for Hampton Court and may well have come from the chapel of Daubeney’s time or even of the Knights Hospitallers of St John of Jerusalem. There is a suggestion that it was a ship’s bell prior to its installation.

Looking South

Don’t Miss • Christopher Wren’s baroque colonnade built right up against the Tudor building3 • The red bricks set into the surface of the courtyard mark out the position of Daubeney’s old manor house, which in Wolsey’s time became a long gallery linking his apartments with the King’s on the first floor

The Baroque Colonnade was part of William and Mary’s plans, soon after their accession to the English throne in 1689, to turn Hampton Court into a baroque palace along the lines of Versailles in France. It was designed by Christopher Wren and constructed as a grand entrance to William III’s Apartment (which can be accessed on the left under the Colonnade). Behind these pillars is part of Wolsey’s old palace. There was no respect for the original buildings - new structures were put up against the old, and much of the Tudor building material was re-used.

Looking North

Don’t Miss • Water pump in right hand corner. Fresh water was very important to the palace and came from springs on Coombe Hill not far away. • George II square leaded drainpipe.

3 Stone cleaning and redecoration is currently taking place to the internal colonnade. As a result of paint analysis and documentary research, a paint scheme is being used which is thought will better represent the appearance intended by Wren in the late 17th century and early 18th century. Page 11 of 62 January 2014

Henry’s Great Hall, a distinctive building with its tall windows and gilded weather vanes. Wolsey had begun rebuilding Daubeney’s hall but it is not quite clear how far his work had progressed. (LW p 33) Henry’s workmen started on it in 1532 using locally sourced timber and bricks in the already old fashioned medieval style. The Great Hall was the social hub of the palace where, in Henry’s time, meals were provided for 600 people twice a day. Traces of the original Great Hall of the Knights Hospitaller have been found underneath Henry’s Great Hall. The King’s beasts on the roof are Victorian replacements (1882).

Looking East

Don’t Miss • George II’s initials and date of 1732 over the Gateway • Four Maiano medallions

Wolsey added sumptuous private chambers for his own use as well as three suites for the new royal family: the whole of the east side of Clock Court became a block of splendid royal lodgings intended for Henry’s daughter, the Princess Mary on the ground floor, Henry VIII on the first floor and his first wife Catherine of Aragon on the second. The Cumberland Suite, commissioned by George II and Queen Caroline for their youngest and favourite son, William, Duke of Cumberland, was built on the site of these apartments in 1732. Designed by William Kent in mock Tudor/gothic fashion, he was also responsible for the George II Gateway which he modelled on existing gateways at Hampton Court Palace. It included as decoration a re-use of four of the Maiano medallions: Titus, Otho, Galba, Julius.

George II Gateway to Fountain Court

Don’t Miss • Painted wood panelling • Silver Stick staircase on left going to the Georgian Rooms

Go through the double doors ahead to The Queen’s Staircase on the left. The staircase leads to The Queen’s Apartments. (The Queen’s and Prince of Wales Apartments will be closed for enabling works prior to their re- opening at Easter 2014 and in November 2014 respectively).

The Queen’s Staircase was completed by William Kent in 1734 for George II and Queen Caroline. The walls had remained plain since the death of Mary II, in contrast to the King’s Staircase which had been finished during William III’s reign. Kent painted the walls with a series of trompe l’oeil niches and half-domed spaces with classical sculptures in them. The ceiling included the Garter star and royal ciphers. Pride of place was given to Gerard van Honthorst’s vast canvas Mercury Presenting the Liberal Arts to Apollo and Diana, originally commissioned by Charles I for the Banqueting House at Whitehall (1628). The central lantern is by Benjamin Goodison.

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Fountain Court

Don’t Miss 4 • The very faded Labours of Hercules roundels by Louis Laguerre Floor tiles consisting of Swedish limestone fossils • Grace and Favour plaques and bell at the south east corner of Fountain Court (see Appendix re resident Beau Brummell)

Double doors lead into Fountain Court, the last courtyard and the Baroque part of the palace. To your left, as you enter the Courtyard, is the route, past the Chapel, to Chapel Court, and on your right to Chocolate Court.

Henry VIII and his wives after Katherine of Aragon originally had their private apartments here when it was known as Cloister Green Court. The north and east sides had started in 1533 as a new and grander suite of apartments for Anne Boleyn and then from 1537 the southern side consisted of Henry VIII’s ‘secret’ lodgings that overlooked the gardens. This roughly mirrored the shape of Fountain Court which replaced it over 150 years later with Wren’s rebuilding of the king’s and queen’s main apartments in the symmetrical Baroque style (1689-94). William III’s apartments were in roughly the same position as Henry’s lodgings on the south side of the quadrangle, meeting the Queen’s Apartments, originally intended for Mary II, at the south east corner of Fountain Court. All but Henry’s Bayne Tower was rebuilt.

You are faced with a four sided courtyard edged by an ionic colonnaded walkway which leads into the Gardens through the East Front opposite. Underneath each arch are delicately carved flowers and royal symbols, each being topped by the head of a classical god or mythic creature. This detailed work would have been hugely expensive. Underneath the stone balustrade and behind the upper square windows on the north, south and east sides were lodgings for leading servants and courtiers who could look down on the courtiers walking and gossiping and showing off their fine clothes in the courtyard below. Below the upper windows, on the north and east facing sides, is a row of round windows which is mirrored on the south facing side by a row of now faded roundels. They were painted by Louis Laguerre in 1691-94 with scenes from The Labours of Hercules, which illustrate William’s wish to be thought of as a modern day Hercules. A carving of Hercules’ lion skin is draped over each roundel. The fountains were built by Wren, sourced from the Longford river and gravity fed. The lamps on the columns are possibly Victorian, were originally oil burning and the only ones of their kind in the Palace.

4 Conservators have undertaken a close inspection of four of the 12 Louis Laguerre roundels to find out why they have faded so much

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East Front Entrance to Gardens

Don’t Miss • Graffiti on pillars on both side walls: put there by (bored?) sentries on duty in 1836 • The two giant Carrara marble urns were originally carved for William III in 1691 by Edward Pearce and Caius Gabriel Cibber. They were returned to Hampton Court in 2011 for the first time in nearly 200 years. They were designed to be placed in William’s new gardens at Hampton Court Palace and their original bases are still in situ at the head of the Long Water. (See Appendix)

East Front

Wren and Talman completely transformed the east and south facades of Hampton Court, replacing Tudor towers and chimneys with the grand and elegant baroque exteriors that dominate the formal gardens today. The east front features a row of round windows and is topped by a balustrade. A carved triangular pediment marks the position of the main room on the principal (first) floor and masks a low attic storey. Don’t miss Caius Gabriel Cibber’s carving depicting Hercules triumphing over Envy contained in the pediment and the intertwined monogram of W & M poignantly forming one of the principal decorative motifs on the exterior of the range (Mary had died before the work was completed).

On William’s death the principal building works were complete. The East Front contained the shell of the range intended as the Queen’s Apartments, unfinished since Mary’s death in 1694.

Additional Courtyards

Stone Court/Key Court, off Fountain Court (about half way down the colonnade on the right as you enter Fountain Court) Henry’s suite of private rooms, the Bayne Tower, were so called because they contained the ‘bayne’, a sixteenth century word for bath. This is a three storey tower of lodgings which contained a study, library, jewel house, a first floor bedroom and adjoining bathroom. A furnace in a nearby room heated water for his circular bathtub. This first floor bedchamber was the last in the chain of increasingly important rooms that extended from the palace entrance to the King’s presence. The furnace of Henry’s Bayne room existed until the 1950s when it was demolished to create a lift shaft to service the grace and favour residents above King William’s

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Apartments. The lift is now known as Lord Moore’s lift. The Courtyard is used as a café in the summer months.

Chocolate Court5 (off Fountain Court at the junction of the west and south facing sides. Can also be seen from the lower floor of the King’s Apartments and the Garden Display room through the garden shop)

The Dutch had traded in and enjoyed chocolate far longer than the English. King William III (1689-1702) and his circle of Dutch noblemen were especially fond of chocolate and when William came to England he installed kitchens specifically for making chocolate both at Kensington and St James. At Hampton Court he ensured that a chocolate kitchen was included in the suite of specialist kitchens and stores in the newly built Fountain Court. This is where William’s morning chocolate was prepared. It was a long held belief that Mr Nice held this post but it has now been discovered that this was a mis-translation of the name Grice, who was an Assistant Groom. King William’s chocolate maker was in fact Thomas Tosier. On his death, his wife Grace bought a chocolate house in Greenwich which became a favourite haunt for the rich and famous. Grace Tosier became well known in her own right and was notorious for her large hat and having “flowers in her bosoms”.6 The Georgian kings and queens also loved chocolate. According to the Earl of Hardwicke, King George II drank chocolate shortly before his unseemly death in his water closet at Kensington Palace on 25 October 1760.

Chapel Court Garden (on entering Fountain Court, take your immediate left, past the Chapel Royal on your left, to Chapel Court on your left)

The west range of Chapel Court was partly built by Wolsey c1515-1528 with the section housing one of a pair of large spiral staircases that served the adjacent T-shaped chapel. Chapel Court itself was built by Henry VIII and many different phases of work can be seen here, including the primary phase under Cardinal Wolsey; the addition of the council chambers by Henry VIII; the 18th century heightening of the range to three storeys sometime between 1710-1775; and the 19th century repairs and refenestration.

5 Recent research has uncovered two rooms associated with chocolate making at Hampton Court: the Chocolate Kitchen and Chocolate Room. The Kitchen will be conserved and the Room will be re-presented, filled with spice, silver and porcelain. The Chocolate Kitchen will open on 14 February 2014 and there will be live chocolate making every day during February half term week and then on Tudor cookery weekends throughout the year. There is a secret staircase off the lobby between the two rooms up which the chocolate was taken to the King’s Apartments. (Information taken from HRP Members Magazine Autumn 2013 and Lee Prosser talk at Volunteer Seminar Nov 2013.)

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This new Tudor garden was created by landscape architect, Todd Longstaffe-Gowan, in 2009 to to commemorate the 500th anniversary of King Henry VIII’s accession to the throne in 1509. It is planted with flowers and herbs that were available in 16th century England. It also includes the heraldic beasts that were used by King Henry to represent his lineage and reinforce his claim to the throne. The double row of specially commissioned ‘Kyngs beestes’ are inspired by those in the painting, The Family of Henry VIII (c1545), which hangs in the palace and clearly depicts the magnificent beasts’ standing post amongst the flowerbeds: the golden lion of England, a bull, dragon, falcon, leopard, greyhound, lion, white hind and a yale. They are hand carved in English oak, then painted and gilded with the heraldic colours of the period.

Round Kitchen Court (Turn right out of Chapel Court, then left into North Cloister and left again into Round Kitchen Court) The area merged with Wolsey’s parkland until Henry built his close tennis court 1532-3 and the Prince’s lodging in 1537 creating a quadrangle. There are pre-Wolsey remains beneath the east side/wing of Chapel Court – possibly evidence of a boundary wall or even a building. In 1884 the architect John Lessels was asked to design a boiler house for the palace heating system. He ‘invented’ a Tudor building to house it which is the building there today.

Scullery Courtyard (continue down North Cloister , past the Buttery Stairs on left and turn immediate right through green door. This is usually locked but area can be accessed from the kitchens if you ask a warder) There is a suggestion that this could be part of the original D’Aubeney kitchens but there is scant evidence for this and it is a controversial area. However the Wolsey part of the Great Kitchen may still turn out to be from D’Aubeney’s time. The area was and still is a scullery. The earliest evidence for this so far is the 1674 survey of lodgings which marks it as such. In Henry’s time it would have been an area for servants to wash and clean dishes.

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Fish Court (At bottom of North Cloister turn right into Master Carpenter’s Court, right again into Henry VIII’s Kitchens, and then first left into Fish Court) This is also part of Henry VIII’s kitchen service wing. It looks just like a corridor with store rooms off to left and right but is effectively a Tudor fridge in the middle of the kitchen complex, allowing for the short term storage of raw ingredients. The space is narrow, running north to south, so that the sun does not shine, and is open to the air, so that the stone stores stay cool. On the right was the wet fish store and on the other side it is believed was a store for grain. There was also a meat store. The door at the west end of the court, and immediately on your left as you enter, would have led to the pastry house and above that was the confectionary, where delicate sweets were made for the Royal table by the only woman recorded at work in the kitchens.

Master Carpenter’s Court and Lord Chamberlain’s Court (Go back, past the Boiling House into Master Carpenter’s Court and beyond that Lord Chamberlain’s Court)

This is part of Henry VIII’s great kitchen service wing built in 1529-30 and would have been a hive of activity. Notice the great gate under the first arch opposite the entrance to the kitchens. All provisions were brought through the gate into Master Carpenter’s Court (a space big enough to turn a horse and cart around) where they were accounted for, put into store, or taken to one of the kitchens. Accounts were kept by the officers of the ‘Board of the Green Cloth’, whose office lay over the outer gate and from where they could monitor supplies coming into the palace. Not far from this office on the ground floor was the jewel house, in which was held the coin needed to pay the palace suppliers as they delivered their goods. Other adjoining offices included the spicery, where herbs and spices were kept and which was also responsible for the supply of fruit, and the chandlery where wax, for candles and tapers, and linen for the table were stored and distributed. Across the courtyard was the coalhouse, storing both charcoal for the kitchen chaffing dishes and luxurious sea-coal for burning in the king’s and queen’s rooms. To the left and right are paned arched windows set in high redbrick walls. The walls are topped with Tudor chimneys with their distinctive twisting patterns.

Appendix

Houses of Offices Until 1536 the area in front of the Palace was the builders’ work yard, the materials being delivered by barge or floated down the river, and landed at ‘the Thames side’. A range of timber-framed workhouses were then constructed, well away from the palace, for noisy, smelly operations, such Page 17 of 62 January 2014 as the slaughtering and scalding houses, and potentially dangerous activities like the bakehouses, which were notorious for burning down, and the squillery, the highly inflammable rushes store. Sited on the river’s edge, they were each linked to a timber landing stage to allow the delivery of provisions by barge. They were finally demolished in 1878.

The Astronomical Clock Stationary outer ring shows the hours of the day; Outer Dial rotates annually and shows the day of the year, the position of the sun in the zodiac and the date; Middle Dial is the solar dial and the pointer rotates daily, telling the time; Inner Dial is the lunar dial and rotates monthly, indicating the phases and visible portion of the moon.

Grace and Favour resident in Fountain Court Beau Brummell, born George Bryan Brummell at 10 Downing Street (1778 - 1840) lived as a child with his father in Apartment 10, a grace and favour apartment on the third floor of the south side of Fountain Court. Beau Brummell’s father, William, was private secretary to the Prime Minister, Lord North, from 1770 to 1782 and it is this position which gave him the apartment at HCP. Beau was an arbiter of fashion, a wit, and friend of the Prince Regent until they fell out.

Marble Urns, East Front Vestibule Two giant Carrara marble urns, originally carved for William III in 1691 by Edward Pearce and Gabriel Cibber were reinstated at Hampton Court in February 2011 for the first time in nearly 200 years.

The urns were designed to be placed in William III’s new gardens at Hampton Court Palace. Their original bases can still be seen at the head of the Long Water. In 1829 the urns were moved by George IV for his new east terrace garden at Windsor. Sadly the urns weathered badly over time and a new home was found for them in the 1970s in the Orangery at Kensington Palace.

Specialist stone conservators dismantled the two urns at Kensington and returned them to Hampton Court, re-building them during a cold week at the beginning of February 2011.

Each urn is made of five large sections of marble and during the dismantling phase stone conservators carefully removed the mortar between the joints using hand tools so that the urns could be taken apart piece by piece. Each urn weighs just under 3 tonnes and measures nearly 3m high. It took three weeks to take them apart and box them for transport and another week to put them back together in the East Front vestibule. New Portland stone bases were laid first and then each section of the urn was carefully lifted back into position before the joints were filled in and the urns given a final clean! Page 18 of 62 January 2014

King Henry VIII’s Apartments (10 rooms)

Recommendations

Short Visit: The Great Hall Longer Visit: The Great Hall, Great Watching Chamber and Processional Route

Don’t Miss

• Hammerbeam Roof, The Great Hall • Abraham Tapestries, The Great Hall • Ceiling, Great Watching Chamber • Iconic painting The Family of Henry VIII, Processional Route • Henry’s Council Chamber • Royal Pew with reconstruction of Henry VIII’s crown

Brief History

In 1514 Cardinal Wolsey, Henry VIII’s very rich and powerful minister, leased from the Knight’s Hospitallers, the house that had originally belonged to Giles Daubeney. He then began a programme of works to turn the building into a magnificent palace where he could entertain the king and foreign dignitaries on an impressive scale.

At Wolsey’s fall from favour in 1528, Henry VIII confiscated Hampton Court Palace and embarked on his own massive building programme. The private rooms Henry created were either demolished or internally remodelled during the building works of later monarchs. However, what survives are his magnificent state apartments - the Great Hall and Great Watching Chamber (built in the 1530s) – and the Chapel.

Top of the Stairs

Don’t Miss • Henry VIII’s Coat of Arms over the main door into the Hall • Henry VIII’s badge of roses and Catherine of Aragon’s pomegranate over doorway into the room on the left as you enter The Great Hall

Introductory film about Henry VIII and his six wives in the room on the left.

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The Great Hall

Don’t Miss 7 • Abraham Tapestries 8 • 4 tapestries from the Dido and Aeneas series above Great Hall dais • The initials of Henry and Anne Boleyn at top of the carved oak screen to the left and right as you enter – they were obviously overlooked when Anne fell out of favour and was eventually beheaded. Henry had ordered that all such reminders of Anne should be erased. • Look up at the eavesdroppers on the Great Hall roof: carved and painted heads intended to remind people that there is always someone listening to you so beware what you say! • The Oriel Window and beautiful carved ceiling • Minstrels’ Gallery behind you where the diners were entertained with Tudor music

This is the largest room in the palace and was the first in a sequence of rooms leading towards Henry’s private lodgings. It was built during Anne Boleyn’s rise to power.

In Henry’s time the hall was used to feed the lesser members of the royal court living in the palace - two sittings of around 300 people a time at both 11 am and 5/6pm. On special occasions it was hung with tapestries and used for court dances and masques. Later, under James I, the Great Hall was used for theatricals.

The magnificent hammerbeam roof, an already outdated design deliberately chosen by Henry to symbolize royalty, antiquity and chivalry, was designed by James Nedeham and Christopher Dickenson, and built in the 1530s. In Henry’s time it was painted blue and would have shimmered with light.

The walls are hung with part of a magnificent set of ten tapestries depicting the biblical story of the life of Abraham. Commissioned by Henry, they were woven c1540 by the famous Brussels weaver, Willem de Kempeneer, and cost the then fabulous amount of £2000. The tapestries came to Hampton Court Palace c1543/44 and are richly woven in wool, silk and silver and gold metal threads. It is thought that Henry may have seen parallels in his own life with that of Abraham – a son born late in life, long lasting dynasty, head of a church etc. They were the most valuable objects in the Royal Collection when Charles I’s possessions were valued for sale after his execution and are considered to be one of the finest to survive from any period. The set survived the sale as Cromwell wanted them for himself. Three other tapestries from the set are hanging in King William

7 Circumcision of Isaac – washed by CCC (17 July 2013). Beginning of a full conservation treatment of the Abraham series of tapestries. The Meeting of Abraham and Melchizedek going to exhibition at Metropolitan Museum of Art, Oct 2014 8 The Great Hall: Rehanging of Dido and Aeneas tapestries Feb 2013 Page 20 of 62 January 2014

III’s Apartments (where they had been placed by William) and the tenth is in long-term conservation.9

The four Dido and Aeneas tapestries hanging above the dais are part of a set of five. They are probably of Brussels manufacture and it is thought they were purchased by Elizabeth I and are mentioned in the inventories of James I and Charles I.

A stone hearth lay in the centre of the hall and smoke was intended to escape through a shuttered louvre above it in the medieval fashion. However, the absence of any soot on the timbers of the louvre suggests to some people that it may never have been used and could have been for show only.

Dr Jonathan Foyle, architectural historian, thinks the stonework and outside brickwork of the oriel/bay window were part of Wolsey’s original palace but have been heavily restored. The decorated glass in the window was destroyed during Cromwell’s time and was replaced in 1846 using designs by Thomas Willement. The beautiful ceiling in the bay is also thought to be original to Wolsey’s palace.

Horn Room

Don’t Miss • The life-size portrait of Elizabeth I’s Porter by Cornelius Ketel, 1580. An enormous man, reputedly the tallest man in London at the time!

This was originally called the Leaning Room as servants used to lean against the walls with trays of food, waiting until needed. It now has a display of horns dating back to the 17th century, including the 2 million year old fossilised horns of a Great Elk, found in Ireland and presented to Charles II. On your left the staircase from the kitchens still has its original oak steps. As you leave the Horn Room, on the left of the doorway, there is part of an original Tudor doorway arch. Now go through the doorway into the Great Watching Chamber.

Great Watching Chamber

Don’t Miss • The three dark roundels in the far right hand corner of the ceiling (closest to the door which led through to Henry VIII’s Private Apartments) are the original Tudor roundels made from leather maché. The rest are wooden casts.

9 Two of the Abraham tapestries were covered and overlaid with linen reproductions in preparation for the erection of scaffolding in the Minstrels Gallery. Armorial tapestries on the front of the gallery were removed, September 2013 Page 21 of 62 January 2014

• The Empress Roundel over the fireplace is made from glazed terracotta and dates from 1531-2. The roundel is almost certainly from the Da Maiano workshop and is one of eight commissioned by Henry for the Holbein Gate at Whitehall Palace.

This was the first of the king’s state apartments where members of the Yeomen of the Guard were stationed to ‘watch’ and control access to the king. It was also where courtiers would wait for an audience with the king and those above the rank of baron would eat. The doors at the end of the room once led to a sequence of chambers which formed Henry’s more private apartments. They were internally remodelled by William III in 1689 during his rebuilding work and subsequently extensively changed by the Georgians.

The Chamber is more lavishly decorated than the Great Hall and celebrates Henry’s third wife, Jane Seymour (married 1536). Originally the ceiling had 130 painted and gilded leather maché roundels, decorated with the badges and family arms of Henry and Jane (the Tudor Rose, the fleur de lys of France, the portcullis of Henry’s paternal grandmother, Margaret Beaufort, Jane Seymour’s phoenix). The ceiling has been restored but there are still three original roundels.

Wolsey, like Henry, was an enthusiastic collector of tapestries which were used to display the owner’s wealth and importance. Three of the six tapestries in this room are from Wolsey’s collection and are dated to c1515. The Triumph of Fame over Death is part of a set of six tapestries, three of which are at Hampton Court Palace (the other two being the Triumph of Death over Chastity, and the Triumph of Time over Fame- in store). They are based on the poem ‘The Triumphs’ by the 14th century Italian, Petrarch, and were purchased by Wolsey from the Bishop of Durham in 1523.

Justice disarmed by Mercy (Music) and Humanity surprised by the seven deadly sins (Dancing) probably derive from a 9 piece set known as the ‘Seven Deadly Sins’, which in turn are part of a design series known as the ‘Triumph of Virtues over Vices’. The Death of Hercules is a fragment of a larger tapestry, and is part of an eight piece set of the Story of Hercules. It is dated to c1515 and is probably one of a set of 8 tapestries listed at HCP in the 1547 inventory of Henry VIII’s collection. Aeneas departing from Carthage is from a set of five tapestries depicting the story of Dido and Aeneas at HCP and dated to c1523. They also have been identified as being listed in Henry VIII’s 1547 inventory. Romance has an unidentified allegorical subject but is possibly one of the groups of ‘Plesaunce’ tapestries recorded in the 1547 inventory. It typifies the sort of good quality courtly and allegorical tapestry that Wolsey and Henry would have been acquiring during the mid 1520s. It dates to c1515.

There are also three Wolsey armorials and one belonging to Henry VIII. These are borders which have been added to tapestries with the coat of arms or royal emblems of the owner.

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The stained glass window was designed by Thomas Willement in 1845. The fireplace was unblocked in 1993 and given a marble surround.

The Empress Roundel over the fireplace, displayed in 2011, is made from glazed terracotta and dates from 1531-2. It is almost certainly from the Da Maiano workshop and is one of eight commissioned by Henry for the Holbein Gate at Whitehall Palace.

Garderobe (Privy)

This is a small room off the Chamber. It provided a convenient privy for the many courtiers, guards and servants serving and waiting in the Chamber. The steps at the back of the fireplace went up to the original privy.

Pages’ Room (on right just into Processional Route)

Don’t Miss • The ‘A’ on the Tudor cabinet, probably added at a later date, is for Henry’s elder brother, Arthur, who died aged 16, before his father Henry VII, so making Henry heir to the throne. • The door on the right led into the Great Watching Chamber via a split in the tapestry hanging in front of it • There is original plaster and graffiti here behind the glass on the left of the entrance

This was used as an office and bedroom by the royal pages whose duties included waiting on the courtiers in the Great Watching Chamber. It is displayed as it might have looked in the 1540s and the furniture and objects are all from the sixteenth century.

Processional Route (first corridor)10

Don’t Miss • To the left of the doorway there is part of an original Tudor doorway arch • Graffiti in the stonework on either side of window sills. • Bexson stairs (named after a Head Warder who was at the palace from 1959-1970) on left lead down to the kitchens. • Red painted window frames are inspired by the painting of Boy Looking through a Casement showing the Tudor love of colour in their buildings. • Roundel with carving of Henry VIII over double doors through to the second part of the Processional Route is original Tudor

10 Representation of Processional Route, October 2012 Page 23 of 62 January 2014

The Processional Route was used by Henry to access the chapel from his private apartments. On Sundays and special holy days Henry would use the opportunity to be seen by his court. Courtiers waited along the route to be seen by him and to present petitions.

Paintings11

• Elizabeth, Lady Vaux: after Holbein. A cousin of Katheryn Parr. • Copy of a letter from Catherine Howard (Queen Aug 1540) to Thomas Culpepper (on left) • Portrait of a Man in Red: German/Netherlandish School, 16th century. Returned from Royal Collection exhibition, “In Fine Style: the Art of Tudor and Stuart Costume”, October 2013. Last on display here in 2009. 12 • William Reskimer: Hans Holbein the Younger (1520-40). William Reskimer (d 1552) came from Cornwall and held various posts at the court of Henry VIII including Page of the Chamber and Gentleman Usher. In 1543 he was granted keepership of the Duchy of Cornwall. • Christina of Denmark: she was thought to be a possible wife for Henry but sensibly refused him (above fireplace) • Henry VIII: after Holbein. Henry in iconic pose. 13 • Boy Looking through a Casement: 16th century, Flemish School (in the collection of the elder brother of Charles I, Henry Prince of Wales, who died before he could become king). Unusual painting for its time as servants were not normally the subject of paintings. (On left in alcove) • Johann Froben: (on left). By Hans Holbein the Younger 1520-40. One of the finest printers of his time who published the works of his friend Erasmus as well as the artworks of Hans Holbein the Younger. • Erasmus: (On left). By Hans Holbein the Younger 1520-40. The best known scholar of the Tudor Age 14 • Queen Elizabeth I and the Three Goddesses: Hans Eworth, 1569. • Francis I: king of France and Henry VIII’s greatest rival • Charles V: Holy Roman Emperor and the most powerful Renaissance monarch for most of Henry’s reign. 15 • The Pope, ‘A Protestant Allegory’ : by Girolamo da Treviso. A gruesome picture showing the writers of the four Gospels crushing

11 Following the end of the Royal collection exhibition, “Northern Renaissance: Durer to Holbein" three paintings by Hans Holbein, William Reskimmer, Johannes Froben and Erasmus were hung in the Tudor Processional route, plus “The Whitehall Mural” by Remigius Leemput. 12 William Reskimer by Hans Holbein the Younger on loan for four month exhibition in Exeter: West Country to World’s End: The South West in the Tudor Age. October 2013 13 Rehung Feb 2013 following loan to the National Portrait Gallery for their exhibition about Henry Prince of Wales: The Lost Prince: The Life and Death of Henry Stuart, 18/10/12- 13/1/13 14 Queen Elizabeth I and the Three Goddesses Hans Eworth, removed for inclusion in Royal Collection exhibition “In Fine Style: The Art of Tudor and Stuart Fashion”, Queens Gallery, Buckingham Palace, 10 May – 6 October 2013 Page 24 of 62 January 2014

the Pope with rocks which was commissioned and owned by Henry. Henry became Supreme Head of the Church of England in 1534. He believed he had direct access to God and did not need the intervention of the Pope.

Henry’s Council Chamber (through double doors on left)

Don’t Miss • View of the Chapel Court Tudor Garden from the windows in the Chamber • The Council met every day and this was where some of the most important political decisions of Henry’s reign would have been made. The room has been set up as a multimedia debating chamber where visitors can listen to and watch Henry’s councillors in discussion. • The painting of the Family of Henry VIII (in the Processional Route) inspired designs for the Chapel Court Garden and the floor of the Council Chamber.

Continuation of the Processional Route to the Holyday Closet (also called the Haunted Gallery)

This part is called the Haunted Gallery as a ghostly figure, traditionally supposed to be Catherine Howard, Henry’s fifth wife, is said to have been seen running along the Gallery in a desperate effort to reach the King at Mass in order to plead her innocence. She was executed in 1542.

The gallery was lined with hangings when the king was in residence. The pattern for the current hangings was taken from Holbein’s painting, ‘The Ambassadors’.

Wedding Video (room on left) Henry VIII is shown marrying Kateryn Parr, his sixth and final wife, in the Privy Closet on 12 July 1543.

From the window on your right can be seen William and Mary’s Game Larder in Round Kitchen Court.

Paintings on the left hand wall illustrate Henry’s royal lineage and his right to the throne: • Henry VII: (British School, 1590s) Henry’s father, Henry VII, ascended the throne in 1485 after the Battle of Bosworth, during which the existing king, Richard III, was killed. Henry VII was a Lancastrian, not directly in line to the throne, and there were plenty of Yorkist claimants who could create trouble for Henry VIII.

15 A Protestant Allegory by Girolamo da Treviso. W/C 23 September 2013 removed for 3 month exhibition “Art Under Attack: Histories of British Iconoclasm” at Tate Britain, 2 October 2013 – 5 January 2014 Page 25 of 62 January 2014

• Elizabeth of York: (British School c1490-1500) Henry VIII’s mother, daughter of Edward IV (Richard III’s brother) and representative of the Yorkist line. By marrying her, Henry VII had hoped to reconcile the Lancastrian and Yorkist claimants to the throne. Elizabeth is believed to be the basis for the image of the Queen of Hearts on a deck of cards. • Margaret of Beaufort, Countess of Richmond: Henry VIII’s grandmother and a formidable lady! It was on her descent from John of Gaunt and his mistress, later third wife, Katherine Swynford, that Henry VII based his somewhat thin claim to the throne. Her symbol was a greyhound, one of the King’s Beasts. • Family of Henry VIII: Artist unknown. This shows the line of succession, with a posthumous portrait of Jane Seymour as Henry’s wife, being the mother of his son and heir, Edward, later Edward VI (Henry was married to Kateryn Parr at the time, 1545). To the left and right are Henry’s two daughters, Mary and Elizabeth who have been brought back into favour. The King’s fool, Will Somers, is shown in the archway with a monkey on his shoulder. The female figure is possibly Jane, Princess Mary’s fool. • Whitehall Mural: private loan of a copy by Remigius van Leemput, 1667, of the Whitehall Mural by Hans Holbein the Younger in 1537. There are only 2 copies in existence. The original mural was destroyed by fire in 1698. It shows Henry VIII in full dynastic glory with his father, mother, and favourite wife, Jane Seymour, the mother of his son and heir. • Edward VI: Henry’s only surviving son (ruled 1547-1553). He became king at the age of 9 but was not a very healthy child and died at the age of 15, when he was succeeded by his eldest sister Mary, daughter of Catherine of Aragon (after the brief reign of the nine days Queen, Jane).

Royal Pew (on left)16

Don’t Miss • The ceiling of the central room as you enter by Sir James Thornhill for Queen Anne • The spectacular Tudor ceiling of the Chapel

The Royal Pew, which overlooks the Chapel, was opened up for the first time in seven years in October 2012 to display a replica of Henry VIII’s crown. It is from here that Henry would have heard Mass on feast or holy days. On other days, when he was anxious to go hunting, Henry would hear Mass in his Privy Closet.

The crown is a potent symbol of royal and religious authority and this one was made for either Henry VII or Henry VIII and would have been worn by

16 Royal Pew, recreation of Henry VIII’s crown, October 2012

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Henry VIII on special occasions, such as Epiphany. The crown was later used at the coronation of each of Henry VIII’s children. The original crown was melted down in 1649 on the orders of Oliver Cromwell and the jewels sold off. The crown has been reconstructed, based on Daniel Mytens’ 1631 painting of Charles I, plus a detailed inventory of 1547.

Henry VIII refitted the Royal Pew to create the two Holyday Closets (rooms) at the west end of the Chapel, the doors to which can still be seen from the Gallery. The present arrangement shows the extensive alterations made by Christopher Wren for William and Mary and then Queen Anne. [For more information on the Chapel, please refer to Chapel Royal notes.].

The entrance to the Chapel is downstairs.

EXIT right down the Queen’s Stairs

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The Chapel Royal

The Chapel Royal is a ‘Royal Peculiar’, independent of the Church of England’s structures, owing its allegiance to HM The Queen. It has been in continuous use as a place of worship for about 500 years and there are daily services throughout the year. Visitors are asked to respect this when visiting the Palace. Tours are not allowed in the Chapel but warders and very often chapel stewards are on duty who will be able to answer any questions.

Don’t Miss • The Royal Pew (access via the Processional Route) • The Reredos • Look up to see the magnificent Tudor ceiling

Brief History The Chapel was built for Cardinal Thomas Wolsey in the 1520s, probably on or near the site of a chapel used from about 1236 by the Knights Hospitaller of Saint John of Jerusalem. It was a substantial building with an enormous double window at its east end, filled with stained glass. The designs were probably by Erhard Schon from Nurembourg and included the figures of a king and queen praying and images of Henry VIII, Katherine of Aragon and Princess Mary. Remains of the window structure can be found behind Queen Anne’s eighteenth century reredos. The gallery forming the Processional Route to the Chapel from the State apartments still survives and is sometimes known as the Haunted Gallery. Beneath it ran a cloister for servants, giving access between the courtyards.

In 1535 work on the enlargement and embellishment of the Chapel was begun by Henry VIII (1509-47), the most important change being the addition of the magnificent ceiling. Henry’s son, Edward VI (1547-53), was baptized and confirmed here in 1537 by his godfather, Archbishop Thomas Cranmer, when he was two days old.

The Parliamentarian forces seized Hampton Court Palace in 1643 and removed all the decorative fittings from the Chapel, and the ’Popish’ pictures and superstitious images in the glass windows were demolished. Only the elaborate ceiling remained above what became a white painted room for preaching.

Protestant William III and Mary II (1689-1702) embarked on a modernisation of the Palace and also removed any signs of the Catholicism that had been practised under James II. Sir Christopher Wren carried out extensive work for them in the English Baroque style, including the refitting of the Royal Pew. In 1710 he and William Hawksmoor successfully presented to Queen Anne (1702-1714), a staunch upholder of Anglicanism, schemes for remodelling the body of the chapel again in the Baroque style. They Page 28 of 62 January 2014

included a grand timber reredos at the east end to replace the window above the High Altar, a painted scene by James Thornhill above it, the removal of the Tudor window tracery and its replacement by large casement windows, and the addition of panelling, box pews, an organ and new sanctuary fittings plus the staircase from the Royal Pew to the body of the Chapel. The work was completed in 1712. The Chapel underwent restoration work to the ceiling and windows, in the nineteenth century, and to the roof in the twentieth century.

The Chapel Ceiling Nothing is known of Wolsey’s original ceiling but it is thought that it was probably flat. The existing pendant-vaulted ceiling was created for Henry VIII in 1535-36 and is one of the finest examples of its kind in England. The designer was probably William Clement, who went on to create Nonsuch Palace for Henry. The ceiling is made from Windsor Forest oak, which was carved in a work’s yard established at Sonning on the river bank and then, once completed, taken about 30 miles down river to Hampton. One could say the ceiling was pre-fabricated. The carvings consist of Tudor rose and portcullis roundels, and pendants with cherubs. The ceiling was executed in white and then painted by hand in the blue colour known as ‘byse’ and decorated with gold leaf. The English Sovereign’s motto Dieu et mon Droit (‘God and my right’ originally expressing Edward III’s claim to the French throne) appears 32 times showing Henry’s conviction that the Tudor dynasty was invested with Divine authority to rule. Queen Anne had the vault of the ceiling, with Henry’s original blue and stars, overpainted with white lead paint. Augustus Pugin directed the restoration of the ceiling in the second half of the nineteenth century and repainted the ceiling blue and added his own plethora of stars.

The Ante-Chapel This area under the Holy Day Closet did not have any pews until Victorian times. The eight columns supporting the Closet are thin fluted Doric casings enclosing what was thought to be oak pillars, introduced when William and Mary had the floor lowered in the Closets above. A few years ago the Royal Pew was closed due to structural damage. The oak casings were removed from the pillars, which showed that the supports were pine, a less sturdy wood than oak. In the main part of the Chapel the stalls and box-pews face inwards, avoiding the impropriety of worshippers turning their backs on either the altar or the monarch. The front choir pews have boxes under them for small boys to stand on.

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The Font The font was originally in All Hallows, Upper Thames Street, a church built by Wren in the City of London, but was removed when the church was demolished in the eighteenth century. It was brought to the Chapel Royal in 1976 and moved to its present position in 1993.

Floor The floor is marble and was laid in 1712. The original Tudor floor is thought to be just over seven inches below this floor but is not publicly visible. However it can be seen in the floor of the understairs cupboard.

The Kneelers The needlepoint hassocks were embroidered by palace ladies and regular worshippers following a major Chapel refurbishment in 1974. The design on each depicts images from the Chapel Royal or the Palace.

The Altar The Altar was designed by Wren and the red Laudian ‘throw-over’ altar frontal which covers it was made by the Royal School of Needlework in 2004. This was for the service on 12 May, attended by HM The Queen and HRH The Duke of Edinburgh, to commemorate the 400th anniversary of the Hampton Court Conference of 1604. The pulpit fall was made of brown oak, sycamore and ebony under the direction of Viscount Linley, The Queen’s nephew, also to commemorate the Conference, and is probably the newest artefact in the chapel. The Conference was called by James I of England and VI Scotland and resulted in the Authorised Version of the Bible of 1611, which is still used in the Chapel today.

When Queen Jane Seymour died in 1537, soon after the birth of her son (the future Edward VI) Henry VIII ordered that her heart be buried beneath the altar. The altar cross was given in 1894 by a Grace and Favour resident in memory of her soldier husband, Capt. MD Davison, who died in 1885. It was designed by Sir Edwin Lutyens to match the pair of seventeenth century candlesticks, given to the chapel by Charles II (1660-1685). The gilded bronze processional cross is a replica of a 16th century Ethiopian cross, representing the Christian theme of eternal life, and was presented to the Chapel Royal in 1969.

Altar Screen or Reredos The design for this was chosen by Queen Anne from two submitted by Nicholas Hawksmoor, on behalf of Sir Christopher Wren, in 1710 to replace the window above the High Altar. It was carved in oak under the direction of Grinling Gibbons (as were all the other carvings in the Chapel) and was probably intended to be simply decorative in the English Baroque style but the oval egg shape has always been a Christian symbol of the Resurrection.

The Memorial Panels The memorial panels honour those who gave their lives in the two World Wars and who had lived or worked in Hampton Court Palace.

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The Organ The organ on the south wall is an early 18th century Schreider instrument built for Queen Anne and installed in 1711. In that year Anne granted George Frideric Handel a pension for life and he became resident in England. It is possible that he played this organ.

The Windows The stained glass in the great double window at the east end of the chapel was destroyed in the 1640s during the Commonwealth and the window was eventually bricked up. It is now completely hidden by Queen Anne’s large oak reredos and was only re-discovered in 1981. It occupies almost all of the east wall and is of a unique design.

Beside the organ on the south wall is a trompe l’oeil (deceiving the eye) 1window showing what was then the new Fountain Court designed by Wren. It was painted in the 1690s and is attributed to either Sir James Thornhill or Thomas Highmore. However if this was painted by Highmore, it was not up to his usual standard.

The walls between the upper windows were painted for Queen Anne and show her royal cipher AR and her motto Semper Eadem (meaning ‘Always the Same’) which had also been the motto of Queen Elizabeth I (1558- 1603).

The upper windows on the north and south walls are copies, made in 1894, of the original Tudor windows. The pattern was taken from the only remaining original Tudor window structures concealed behind the trompe l’oeil window. The Tudor window frame is behind the plaster and can be seen as you walk up the stairs to the organ. The two East windows behind the reredos wall can be seen from the lift.

Queen Anne’s Coat of Arms (over the Royal Pew)

This is a rare version as it was only used between 1707 and 1714. The Acts of Union of 1706 and 1707 united England and Scotland into a single state and parliament and in October 1707 the Parliament of the United Kingdom sat for the first time. Anne’s coat of arms was changed in 1707 to reflect this.

EXIT through west door into the cloister

Look back at the Chapel Door:

Henry VIII and Jane Seymour’s Coats of Arms (See page 6) On either side of the chapel door there are two coats of arms held up by pairs of angels. The angels were made for Cardinal Wolsey but were later repainted for Henry VIII. The arms on the left belong to Henry VIII and on

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the right to Jane Seymour. Jane’s coat of arms was never taken down, even though Henry married three more times after her death.

The Holy Day Closet can be seen via Henry VIII’s Apartments from the Processional Route.

The Royal Pew The Royal Pew, which overlooks the Chapel, was opened up for the first time in seven years in October 2012 to display Henry VIII’s crown. It is from here that Henry would have heard Mass on feast or holy days. On other days, when he was anxious to go hunting, Henry would hear Mass in his Privy Closet.

The crown is a potent symbol of royal and religious authority and this one was made for either Henry VII or Henry VIII and would have been worn by Henry VIII on special occasions, such as Epiphany. The original crown was melted down in 1649 on the orders of Oliver Cromwell and the jewels sold off. The crown has been reconstructed, based on Daniel Mytens’ 1631 painting of Charles I plus a detailed inventory of 1547. The crown was later used at the coronation of each of Henry VIII’s children.

Henry VIII refitted the Royal Pew to create the two Holyday Closets (rooms) at the west end of the Chapel, the doors to which can still be seen from the Gallery. Previously there would have been one large room for the King’s use. Under Henry a painted screen incorporating stained glass separated the King’s private pew from that of the Queen. Facing the altar, the Closet on the left was for the King and the one on the right for the Queen, and it is now the Lady Chapel. Henry married Catherine Parr, his sixth and last wife, at Hampton Court Palace in 1543 but there is no firm evidence to show where this took place. The first royal marriage in the Chapel was Henry’s illegitimate son, Henry Fitzroy, 1st Duke of Richmond (1519-1536) in 1534 to Mary, daughter of Thomas Howard, 3rd Duke of Norfolk. The original Tudor ceiling can still be seen here and also above the stairs going down to the Chapel. The present arrangement, with a single central room reserved for the monarch with rooms on either side for the gentlemen and ladies of the court, shows the extensive alterations made by Christopher Wren for William and Mary and then Queen Anne. The ceiling of the central room was painted by Sir James Thornhill for Queen Anne with a playful scene of cherubs holding up a crown and sword. Thomas Highmore was a specialist trompe l’oeil painter of three dimensional illusions. The moulded and gilded carving around the central panel is completely convincing when seen from ground floor level and it is only on close inspection that it can be seen that is painted flat on the ceiling.

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The Chapel Stairs There is a stairway installed by Christopher Wren which leads from the Royal Pew down to the chapel. This was re-carpeted for The Queen’s visit in 2004 and is closed to the general public.

Henry VIII and Jane Seymour’s Coats of Arms Outside the main entrance to the Chapel Royal

A The arms on the left are those of Henry VIII as King of England, Quarterly France and England. The France quarters adopted by Edward III claiming the throne of France remained on England’s Royal Arms until 1801.

B The arms on the right are Henry VIII arms as a husband impaled (attached to) his wife Jane Seymour’s arms with its six quarters

1 The royal augmentation awarded by the king to the Seymour family in perpetuity. The Duke of Somerset, present head of the Seymour family, has this in the first quarter with the Seymour arms in the second one. 2 The Seymour arms. 3- 6 Four quarterings from heraldic heiresses who married into Seymour family.

C The motto ‘Dieu et Mon Droit’ is the same as on the left hand tablet and initials are those of ‘Henricus’ and ‘Ioanna’ linked by true lovers’ knots. (The letter J was not invented until later in the 16th century). These arms were never taken down even though Henry married three times after her death.

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Henry VIII’s Kitchens (9 rooms)

Recommendations

Short visit: The Great Kitchen Longer visit: Master Carpenter’s Court to The Great Kitchen

Don’t Miss

• Fish Court - environmental architecture at its best • Wolsey’s original kitchen, one of oldest parts of the palace (3rd kitchen) • Henry VIII’s original great roasting fireplace (3rd kitchen)

Brief History

Hampton Court was originally a modest property belonging to the Knights Hospitaller of the Order of St John of Jerusalem. In 1494 they leased it to the courtier, Giles Daubeney, who was to become Henry VII’s Lord Chancellor. He transformed the estate with major building works that included a large kitchen on the site of the present kitchens. The kitchen was extended by Hampton Court’s next owner, Cardinal Wolsey, and when Henry VIII took over in 1529, he began a vast project to extend the kitchen block even further as part of a massive building programme throughout the palace. The work on the kitchen block was the first of the new palace buildings to be completed, a sign of its importance to the successful operation of a palace. Henry probably first used his new kitchens during his three week stay in November and December 1531. He also constructed a range of timber-framed workhouses outside the main west gate of the palace for noisy, smelly operations, such as the slaughtering and scalding houses, and potentially dangerous activities like the bake-houses, which were notorious for burning down. Sited on the river’s edge, they were linked to timber landing stages to allow the delivery of provisions by barge.

Henry wanted his court to be magnificent. This was shown in his buildings, clothes, art – and food. The richness, variety and exoticism of the food provided by Henry, and the numbers catered for, was his way of displaying his wealth and opulence: the abundance of meat, citrus fruit and almonds from the Mediterranean, sugar from Iran, spices from Africa and India, ginger from China.

Even though a large part of Henry VIII’s kitchens has either been taken down or is no longer accessible, it is still the largest surviving Renaissance kitchen in Europe. Henry had his own private kitchen and cooks situated just below his private lodgings so these kitchens were built to feed the six hundred or so entitled to eat twice a day in the Great Hall, including Page 34 of 62 January 2014 guards, grooms and general court servants, and the higher status courtiers in the Great Watching Chamber. Henry’s kitchens were highly organised to provide a streamlined, efficient production line of food: the capacity of the Great Kitchen to serve meals was doubled, meals being prepared by a team of over two hundred men and boys (no women!), and a second serving place was added to the south, allowing twice as many servants as before to carry food up to the waiting courtiers. The extended Great Kitchen now contained six fireplaces. To its west there were three new small courtyards, surrounded by many specialised offices for boiling, pastry making, fruit and spices. The whole kitchen complex contained 55 rooms (including twenty kitchens) and three cellars. In Henry’s time there were 19 departments with a number of Master Cooks, each with a team of Yeomen and Sergeants working for them. Record keeping at the palace was meticulous, which has provided us with a wealth of information.

During later periods of royal occupancy, the Tudor kitchens became impractical and old fashioned and were updated to accommodate new demands. Queen Elizabeth I’s privy kitchen was sited away from the old kitchens and still survives as the Privy Kitchen Coffee Shop.

The kitchens are presented in a way that as closely as possible evoke the look, sound and smell of the Tudor Kitchens of the 1530s. All the kitchen implements have been made with reference to real and rare Tudor survivals.

Lord Chamberlain’s Court (formerly Greencloth Court) and Master Carpenter’s Court (formerly Pastry Yard)

Don’t Miss • Seymour Gate (called Back Gate in Henry’s time), the great entrance gate of the service wing - look through the arch opposite the entrance to the kitchens • To the left and right are paned arched windows set in high redbrick walls. The walls are topped with Tudor chimneys with their distinctive twisting patterns.

This would have been a hive of activity. All provisions were brought through the service wing gate into Lord Chamberlain’s Court and under the arch into Master Carpenter’s Court (a space big enough to turn a horse and cart around) where they were accounted for, put into store, or taken to one of the kitchens. Accounts were kept by the officers of the ‘Clerks of the Board of the Green Cloth’, whose office lay over the outer gate and from where they could monitor supplies coming into the palace. Not far from this office was the Jewel House, in which was held the coin needed to pay the palace suppliers as they delivered their goods. The Cofferer (Kitchen Accountant) and his clerks also had their offices here and the offices and apartments of the Comptroller of the Kitchens were on the north side. Offices in Master Carpenter’s Court included the spicery, where herbs and spices were kept and which was also responsible for the supply of fruit; and the chandlery where wax for candles and tapers and linen for the table

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were stored and distributed. Across the courtyard was the coalhouse, storing both charcoal, for the kitchen chaffing dishes, and luxurious sea- coal for burning in the king’s and queen’s rooms.

Now go through the main door marked ‘Henry VIII’s Kitchens’.

Butchery

Don’t Miss • Large raw joints of meat, chopping block, written orders/delivery notes hanging on large hook on wall

This was one of the many smaller kitchens that would have been used for simple preparatory work, in this case for the jointing of meat. The Tudor court ate vast quantities of meat, the amount of meat provided being a sign of how rich you were.

The old door on the left at the top of the two steps takes you to the stairs leading to the Rainbow Room, so called after the last Grace and Favour resident, Mr E J Rainbow, who lived there until 1970 and had been Curator of Pictures at Hampton Court Palace.

Go down the corridor; turn right into room with a small fireplace and a table full of pies

Boiling House (up small flight of stairs from room with pies)

Don’t Miss • Fire under copper pan

This would be one of several huge copper pans, which would hold about 350 litres of liquid, powered by the fire in the room underneath, into which you would put whatever you wanted boiling, e.g. meat, vegetables. There would have been someone feeding the fire with sticks, cooks continuously stirring the pot and, when the meat was cooked, it would be pulled out by the flesh hook. If it was to go into pies, the cases would have been brought over from the pastry kitchen.

Fish Court (Previously Paved Passage)

Don’t Miss • Mr Rainbow’s name is on the name plate to your left as you go into Fish Court and you can see the direction of the staircase to his rooms in the ceiling before entering Fish Court • On immediate left see letter box, bell pull, name plates, and Tudor brickwork.

This looks just like a corridor with store rooms off to left and right but is effectively a Tudor fridge in the middle of the kitchen complex, allowing for the short term storage of raw ingredients “environmental architecture at its Page 36 of 62 January 2014

best”. The space is narrow, running north to south, so that the sun does not shine, and is open to the air, so that the stone stores stay cool. On the right was the wet fish store and on the other side it is believed was a store for grain. There was also a meat store. The door at the west end of the court, and immediately on your left as you enter, would have led to the pastry house and above that was the confectionary, where delicate sweets were made for the Royal table by the only woman recorded at work in the kitchens.

The Great Kitchen

Don’t Miss • The timbered roof gives an idea of the size of the original kitchen.

The kitchen started out as one room, but is now divided into three. It was originally used just for roasting fresh meat, mostly beef, which was cooked on spits over six great fires. Over time the Tudor kitchens became less important and in 1717 George I built an additional kitchen (The Georgian House) solely to produce food from his native Hanover. On his accession to the throne in 1760, George III chose not to live at Hampton Court and from the 1770s the palace was used to provide grace and favour accommodation which entailed structural alterations. The western part of the kitchen came to contain a three storey apartment of 42 rooms, the last occupant being Lady Baden Powell who lived there from 1942. At some point an annex was added for the use of guests and servants and a bathroom had even been inserted into one of the great fireplaces! As part of the current re-presentation, the removal of the nineteenth century work was balanced by leaving evidence in the fabric of the wall showing where these later structures had been.

The roof was rebuilt in the nineteenth century but you can still see two original roof trusses (supports) at either end of the kitchen as well as four pairs of stone corbels (arch supports) which would have supported the trusses.

Experimental food historians work in the Hampton Court kitchens. They cook as part of their research using Tudor cooking techniques with hand-made copies of Tudor utensils so that they can replicate the food produced by the Tudors. On special event days the public can witness the food being prepared and cooked and then served and eaten by the historic kitchens team in costume. They are usually at the Palace on the first weekend of each month – please check website for details.

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First Kitchen

Don’t Miss • To the left of the door, the location of the bathroom in the annex for Lady Baden Powell’s guests and servants - you can see the toilet waste in the right hand wall as you face it. • Again to the left of the door, inside the fireplace, fish griddles, called gridirons (probably post Tudor), have taken the place of the spits and irons used for roasting meat. • On the left hand wall the cooking range inserted into a Tudor meat roasting fireplace during Victorian grace and favour times. This may have been used by Lady Baden Powell’s guests and servants, although she did have another kitchen.

Observance of the calendar of the Church of Rome was obligatory during the medieval period. Meat was not eaten on a Friday and often not on a Wednesday or Saturday and certainly not over the forty days of Lent. However this did not stop magnificent dishes being prepared using fresh and sea water fish. Conveniently, some varieties of geese were regarded as fish as they were thought to be born in the sea!

To the Tudors, pies were an alternative way of cooking to roasting, boiling or frying. There was no ovenware, so pie cases were used as a cookery pot to bake ingredients in the oven. The contents were eaten and the case discarded. On the right see an opening in the wall showing a small room with pies.

Second Kitchen

Don’t Miss • The range of charcoal stoves on the left were introduced in the seventeenth century and used for any type of cooking you would use a hob for now: frying, boiling, poaching • The bread oven beside the fireplace (possibly put in under Charles II). This would be used to bake bread, pies and biscuits.

The Tudors didn’t have cake as we know it but bread was eaten at every meal and was sometimes used as a napkin or a plate. At Court bread was even used to distinguish rank: courtiers ate small white rolls called ‘manchets’, the workers ate wholemeal and rye loaves called ‘cheats’.

Third Kitchen

Don’t Miss • The dividing wall as you enter the Third kitchen is the original wall of Wolsey’s palace. • The soot staining on the wall above the fireplace. • The ‘real’ fire in the main hearth has the only remaining spit rack and can radiate a heat of 1000°C when banked up with wood. Page 38 of 62 January 2014

• Alcove opposite the fire: ‘resting’ area for meat to improve its flavour.

This is part of Wolsey’s original kitchen and so the oldest part of the palace. The fireplace (plus the five others) was built for the express purpose of roasting meat. Roast meat was considered a luxury as it was expensive and time consuming to produce: you need a large building, a big fireplace, and a man (not a child!) to sit next to the fire, turning a spit in each hand. The kitchens would have become very hot which is why the roofspace was high with open slit windows for the heat to disperse. Not surprisingly clothing for kitchen staff was often minimal, especially amongst the lower ranks.

Go from Third Kitchen into Serving Place

Servery

At the end of the Great Kitchens are the hatches through which the finished dishes passed. This area is also part of the original Wolsey kitchens. The workers in the kitchen never saw the magnificence of the palace above. Instead, an army of red liveried servants carried the food to courtiers in the Great Hall and the Great Watching Chamber. Opposite there was a two-storey administrative block to accommodate the Clerk of the Kitchen’s staff, a vast empire necessary to the running of a kitchen which cooks for 600 people at a time. It is still occupied by many of the palace’s administrative staff.

The Clerk’s Office (1st right) The Clerk ran a closely controlled operation: It was here that he allocated dishes to the various diners at court; checked the number of meals delivered from the serving hatches to the Great Hall; and counted the food on the way back. This was partly to prevent theft but was also to enable staff to monitor what had been used and what would need re-ordering.

Pewter Store (2nd right) A huge number of plates, bowls and cups etc were needed for the 600 servings and they had to be and look expensive. It was all stored next to the Clerk’s Office so that the valuable pewter could be accounted for. The pewter on show was all specially made for Hampton Court Palace by a Birmingham firm from original Elizabethan moulds.

North Cloister

Turn right into North Cloister and go to the bottom of a large wooden flight of stairs (on left) which leads to the Buttery Door and the Great Hall

Don’t Miss • The Great Hall is where the less important members of the court ate. This route via the Buttery Stairs is the one which would have been taken by the servants to deliver the food. The food historians have Page 39 of 62 January 2014

timed this and it takes about half a minute - Henry’s guests would not have been served cold food. • Another staircase (turn left into North Cloister and behind third door on left) is an original Tudor oak staircase. This took the servants from the kitchens to the Horn Room, which led into the Great Watching Chamber, where courtiers above the rank of baron ate.

Turn back, go past Serving Place

• Go to first open door on right. Tables are laid with exotic food such as roast peacock. Banquets included feasts of sugar, marzipan, and spiced and preserved fruits. Sugar was very expensive and black teeth were a sign of wealth!

Wine Store (second open door on right)

Don’t Miss • Brick floor, vaulted ceiling • Ceramic jugs at the corner of the room, opposite the door you entered by. Wine from the barrels was poured into jugs like these and taken upstairs.

This is one of Henry’s wine cellars, constructed in 1536 to replace one built by Cardinal Wolsey. Barrels like these were brought by barge along the Thames. The court consumed six hundred thousand gallons of beer (probably a jug per person with every meal) and vast amounts of wine a year so supplies were being continuously replenished. Wine was another status symbol, being imported from Europe at great expense. It was served very young and was quite sharp so tended to be diluted with a little water to take off the edge. Because the wine was stored in barrels it would turn into vinegar very quickly. To make this more palatable, various spices would be added and this could be the origin of mulled wine. Water was safe to drink at the palace, as it was piped in from springs three miles away on Coombe Hill, but was not very popular!

Go right into the Kitchen Shop – all items have a kitchen theme.

EXIT via Information Centre and back into Base Court

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Young Henry VIII’s Story (8 rooms)

Don’t Miss

• Important history paintings from the time of Henry VIII: The Meeting of Henry VIII and the Emperor Maximilian I; The Battle of the Spurs; The Embarkation of Henry VIII at Dover; The Field of Cloth of Gold • Original linenfold panelling in some rooms • Views into Knot Garden and Privy Garden at end

Brief History

The exhibition is a mixture of Tudor paintings, audiovisual displays, interactive touch screens and historic quotes. Some of the most important history paintings to have survived from the reign of Henry VIII are on display. It is held in the Wolsey Rooms, a suite of apartments built by Thomas Wolsey in the 1520s, which were part of the original palace at the time when it was ‘acquired’ by Henry in 1528. Henry enlarged and redecorated the apartments to provide lodgings for his eldest daughter, Princess Mary (later Mary I). They consisted of formal reception rooms, with painted and gilded ceilings, and smaller more private spaces.

The familiar picture of Henry is that of a bad tempered, grossly overweight and cruel monarch who married six wives. However, as a young man, he was considered the epitome of a renaissance prince and admired both at home and abroad: he was tall, good looking, well educated, cultured, and athletic. There are many reasons suggested for the change in the man – inherited genetic traits, disease, injuries etc – and the discussion continues. This exhibition focuses on the younger Henry, when he was married to Katherine of Aragon, the Spanish Princess, who was his wife for 20 years, and when his advisor was the ambitious Thomas Wolsey, a brilliant administrator who became the most powerful minister in England.

Throughout the exhibition there are three throne-like chairs arranged to illustrate the changing relationships between Henry, Katherine and Wolsey. The exhibition ends with the fall of Wolsey, the dismissal of Katherine, the ascendancy of Anne Boleyn, and Henry on his way to becoming the tyrannical figure of history.

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Small Hallway

Images of the young and older Henry. The former is an image not often associated with Henry as people are more familiar with the iconic Holbein portrait painted towards the end of his life.

First Room

Don’t Miss • Remains of old doorway in left hand corner of room • Remains of Tudor window to the right, blocked off by Christopher Wren when building the colonnade

This room sets the scene. Henry’s father, Henry VII, was anxious to protect his alliance with Ferdinand and Isabella of Spain, embodied in Arthur’s marriage to their daughter, Katherine. On Arthur’s death he immediately betrothed Katherine to his new heir, Henry, although the marriage did not take place until after Henry VII’s death in 1509. The Pope had granted a special dispensation for the marriage as canon law forbade a man to marry his brother’s widow. The film shows the early happy times of the three protagonists.

Second Room

Don’t Miss • Portrait of Prince Arthur, British School, 16th century. Henry’s older brother who died aged 16 in 1502 at Ludlow Castle. In 1501 he had been married to Katherine of Aragon when they were both 15 and died a year later. • Portraits of King Ferdinand V and Queen Isabella I of Spain. Spanish School, 16th century • Family tree of Henry VIII • Painting The Family of Henry VII with St George and the Dragon. Flemish school, 16th century • View from small window onto Base Court

Up to 1485 there had been almost a century of fighting for the English throne between the various branches of the royal family. This culminated in, what later became known as, the Wars of the Roses.

Henry VII, Henry’s father, had won the crown by force in 1485, his actual right to the throne not being strong. He had astutely married Elizabeth of York, the eldest daughter of Edward IV and, after the disappearance of his two sons in the Tower of London, who became the Yorkist heir. However, there were still other candidates with better claims. It was therefore important to Henry VII to show the credentials of the new Tudor dynasty and this is what he sets out to do in the painting, The Family of Henry VII with St George and the Dragon. The family is shown as pious, devoted to Page 42 of 62 January 2014

England, with sons to secure the Tudor line, and daughters to make strategic marriage alliances with foreign powers. The reality was that, of the three sons, only Henry survived, and Margaret and Mary were the only survivors of four daughters.

Third Room

Don’t Miss: • Paintings – The Meeting of Henry VIII and the Emperor Maximilian I and The Battle of the Spurs (both by artist/artists unknown) • Large fireplace with cast iron fire basket and Tudor graffiti • Dark panelling and strap work ceiling, painted gold and blue, with Wolsey’s coat of arms and other symbols in the bosses. • View from the windows onto the gardens

The themes of war and European expansion are here explored through two important Tudor history paintings. Maximilian I (see his portrait and that of his daughter Margaret, both in this room), of the Austrian Habsburgs, and Holy Roman Emperor, Spain and France dominated Europe at this time and Henry’s ambition was not just to rival them but become a leading force in Europe by way of military glory. He also wanted to follow in the footsteps of his royal ancestors and regain parts of France which had been lost to England. He formed an alliance with Maximilian I and in 1513 Henry, aged just 22 years, and Maximilian led an army of up to 40,000 men to challenge the French King, Louis XII.

The two pictures record Henry and Maximilian’s military success against Louis’ army with the capture of the two French cities, Therouanne and Tournai. The Battle of the Spurs shows Henry at the heart of the battle and the French cavalry fleeing the scene so that all the English could see of them were their spurs. This military success was made possible by Wolsey’s meticulous planning and he was rewarded with the bishopric of Tournai. From now on Wolsey became Henry’s most powerful minister. In Henry’s absence from England, Katherine, herself the daughter of military parents, had been left in charge and ably took the lead in organising the defence of England against the invading Scottish army. This resulted in James IV of Scotland and up to 10,000 Scottish soldiers being killed at the battle of Flodden Field (1513).

Fourth Room

Don’t Miss • Paintings: Embarkation at Dover and Field of the Cloth of Gold (artist/artists unknown) • Dark panelling and strap work ceiling • Graffiti, including witches marks, over the fireplace • Graffiti in doorway into fifth room including alphabet

By 1515 Henry had a rival in the new king of France, Francis I who, like Henry, was young, ambitious and charismatic. The cost of war with France Page 43 of 62 January 2014 was crippling the English coffers and Wolsey was charged with negotiating peace. In 1518 Henry VIII and Francis I signed a peace treaty, the terms of which included the betrothal of Princess Mary, who had been born in 1516, to the Dauphin Francis, Francis I’s heir. To celebrate the signing of the Treaty and to further improve relations with Francis, in 1520 Henry, with Queen Katherine and Cardinal Wolsey, set sail from Dover with some 6000 members of his court for a meeting with Francis near Calais. The peace treaty and the meeting between these two rival monarchs was a great political feat on the part of Wolsey and was a testament to his diplomatic skills and organisational genius.

The Embarkation at Dover shows Henry on board his largest ship, the Great Harry. The Field of the Cloth of Gold displays Henry’s magnificence with its sumptuous and extravagant festivities. A temporary palace and other buildings were erected and tilts, jousts, wrestling and other chivalric activity provided daily entertainment for nearly three weeks. Henry not only wanted to show himself and England as powerful, wealthy and a worthy ally, but the personal rivalry in his relations with Francis also prompted Henry to show off his athletic skill. However for all the cost and outward show, little diplomatic progress was made.

The design of the wine fountain in Base Court is based on the fountain you can see in the right hand of the picture. The dragon which appears in the top left hand corner has been re-created in the Clore Centre by the artist, Sophie Layton.

Fifth room

Don’t Miss • Miniatures in showcase: Henry VIII, by unknown artist, 17th or 18th century after an original portrait; Katherine of Aragon by Wenceslas Hollar, 17th century after an original portrait; Henry Fitzroy, Earl of Richmond (illegitimate son of Henry VIII) by Lucan Horenbout between 1533-34; Princess Mary, by Lucan Horenbout between 1521-25. Four rotated with only two ever on show for conservation reasons • Some original linenfold and biblefold (with crosses) panelling

Henry was desperate for a male heir. By 1520, after 11 years of marriage, the only surviving child was Princess Mary and the succession of still births etc had caused great personal sadness to Katherine. In 1519 Henry eventually fathered a son, Henry Fitzroy, by his mistress Elizabeth Blount. He was openly acknowledged and much loved by Henry. Henry even gave him the title of Duke of Richmond and, despite his illegitimacy, groomed him as a possible heir. This added to Katherine’s despair and she slowly began to withdraw from court life.

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Sixth Room

Don’t Miss • The sad list of Henry and Katherine’s children who, apart from Mary, were all either stillborn or died soon after birth

Seventh Room

Don’t Miss • Painting The Battle of Pavia (c1530, artist unknown) • Fireplace decorated with herring bone brickwork – the only remnant of what must have been a beautifully decorated chamber

The aftermath of the Battle of Pavia (1525) weakened Katherine’s and Wolsey’s positions. The new Holy Roman Emperor (and Katherine’s nephew), Charles V, destroyed the French army at Pavia and broke off his betrothal to Princess Mary (this had been arranged in 1522 when Henry changed his allegiance from Francis I of France to the Emperor), showing that he no longer needed the English alliance. In 1526 Katherine was 40, unlikely to have more children and withdrawing from court life. Henry was 35, still very active, seeing increasingly less of Katherine, captivated by Anne Boleyn, and coming to the idea that a new wife was the only solution to his dynastic problems. Henry assumed that Wolsey, who had arranged affairs so successfully for him in the past, would be able to secure a divorce.

This room and the next may have served as Wolsey’s apartments.

Eighth Room

Don’t Miss • Portrait of Henry in his 40s (copy of a portrait by Hans Holbein, 1560-80), 17 • Katherine of Aragon , and Anne Boleyn (both copies of contemporary portraits, probably c late 1500s) • Tudor Palace of Hampton Court, unknown artist, c1660 • Tudor fireplace • Blocked doorway in far corner giving access to Wolsey’s Long Gallery • View from the window on to the Knot Garden and the Pond Garden

17 Removed mid October 2013 to go on second leg of Royal Collection exhibition “In Fine Style: The Art of Tudor and Stuart Costume”, The Queen’s Gallery, Holyrood Palace, March 2014. Replaced by a framed reproduction of the same image.

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Henry had come to the conclusion that he should not have married his brother’s widow and was living in sin. In 1529 Wolsey fell from power when the Pope refused to grant Henry a speedy annulment. In 1531 Henry told Katherine she must leave court and she went to live at The More, was forbidden to see her daughter Mary, and died in 1536 aged 50. Henry eventually married Anne Boleyn in 1533 when she was 30 and he was 42.

Henry’s long struggle for a divorce involved his radical challenge to papal authority which ultimately led to his vast powers as Supreme Head of the Church of England.

On Way Out

Don’t Miss • Time-line inscribed on window sill. • Look out of window: After Wolsey’s fall Henry created a new privy garden here and 200 years later King William III and Queen Mary planted their baroque garden on the site • Recorded rhyme describing the fate of Henry’s six wives: ‘Divorced, beheaded, died, divorced, beheaded, survived’.

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William III’s Apartments (14 Rooms)

Recommendations

Short Visit: The King’s Stairs and King’s Guard Chamber Longer Visit: The King’s Stairs to The King’s Closet/The West Closet, down the stairs and exit at foot of King’s stairs

Don’t Miss • Verrio’s wall and ceiling paintings and use of trompe l’oeil: The King’s Stairs and Bedchambers • Arms display in The Guard Chamber • Important paintings by Van Dyck and Kneller • Grinling Gibbons’ carvings • Queen Mary’s porcelain collection

Brief History

The staunchly Protestant William III (1689-1702) and Mary II (1689-1694) came to the throne of England in the relatively bloodless ‘Glorious Revolution’ of 1689. They were ‘invited’ by parliament to depose Mary’s Catholic father, James II, after having landed in England with an army the year before. William III was the son of Charles II’s sister, Mary, and William II of Orange. William III’s wife (and cousin) Mary, was the daughter of James II, and therefore had a better claim to the throne than William. They were offered the throne jointly and they were the first and only couple to rule together. However Mary would refer all decisions to William, even when he was campaigning on the continent (which was a regular occurrence). Although their relationship started with an arranged marriage when Mary was only 15, it developed into a love match and William was devastated when Mary died of smallpox at Kensington Palace in 1694. As Mary was unable to bear children, the couple were succeeded in 1702 by Mary’s sister Anne (who loathed William) and her husband, Prince George of Denmark.

The couple chose Hampton Court as their chief country residence, even though it was run down, because its clean air was beneficial for William’s asthma. William and Mary’s initial plans for Hampton Court Palace were radical, involving the demolition of nearly all the Tudor palace. However, because of his expensive European wars, William was often short of ready cash and this resulted in only a partial rebuilding programme with an elegant baroque front and state apartments on the east and south sides around a new quadrangle, Fountain Court. The baroque palace was still not finished at William’s death and the work was continued by Queen

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Anne. However William and Mary did more than any other monarch to shape Hampton Court Palace as it is today.

Many features of the new Palace were based directly on Versailles, the palace of William’s arch-enemy, Louis XIV. William wanted to firmly establish himself as King, signifying a new era in the country’s history, and one way to do this was to impress visitors with the opulence and luxury at Hampton Court Palace. Following protocol that went back to Tudor times, access to each successive room was granted according to a person’s status and the nearer to the king, the richer and more intimate the rooms became. The entrance to the Apartments is in Clock Court, under the Colonnade (behind which is Henry’s old palace). Sir Christopher Wren, Surveyor of the Royal Works (who also served under Charles II, James II, and Mary II) was responsible for the designing of the Palace with a number of assistants, including his Clerk of Works, Nicholas Hawksmoor, to help him. The master craftsman, Grinling Gibbons did much of the stone and wood carving. Although English, he was born in the Netherlands and was appointed William’s master carver in 1693, having the advantage of speaking William’s native Dutch tongue. His trademark was the peapod which can be found on many of his carvings throughout the palace. Antonio Verrio, working for William III and afterwards Queen Anne, was responsible for the wall and ceiling paintings in the King’s Staircase, the Kings Great Bedchamber, the King's Little Bedchamber and the Queen's Drawing Room (Queen Mary II’s apartments) and the Banqueting House (in the Privy Garden). In the late 1600s and early 1700s, it was fashionable to follow the European baroque example of decorating a whole room with elaborate murals which had cultural or political messages about the wonderful achievements of monarchy by comparing it with Roman and Greek gods and heroes.

The King’s Stairs

Don’t Miss • Antonio Verrio’s Banquet of the Gods and Victory of Alexander over the Caesars • The iron railings by the French master blacksmith, Jean Tijou (who arrived in England with William and Mary) • Graffiti left by soldiers in 1700s etched into the edges of the stone stairs (outside the handrail). Stand inside the return of the staircase before ascending to see

This grand, magnificently decorated staircase leads upwards to the King’s public apartments, where visitors and ambassadors would meet the King, and is intended to present an impressive image of the monarch. The steps are very shallow,

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demanding a slow, stately pace, but in fact the upper level is not very high. One suggestion for this is William’s asthma, which meant that he couldn’t walk up too many stairs but, on the practical side, the architect had to accommodate the existing Tudor building which dictated a lower level.

The ceiling and murals are by the Italian painter, Antonio Verrio who created the illusion of a great Roman hall with the architecture open to the sky and Alexander the Great (with whom William identified) being recommended by Hercules for a seat at the table of the gods on Olympus (heaven). On the wall opposite the entrance “The Victory of Alexander over the Caesars” represents William’s defeat of the Catholic forces in the Glorious Revolution and, by showing that Alexander is greater than all the Caesars, implies that William is greater than all his predecessors and thereby reinforcing his relatively weak dynastic claim to the throne.

The Guard Chamber

Don’t Miss • The elaborate paint effect of the marbling on the door post as you enter the Guard Chamber (William’s cost cutting effort to save on marble) • Grinling Gibbons’ carvings set amongst the arms • Ornate door furniture on the far right hand side door, which goes through to the Wolsey Rooms. All the brass locks throughout the King’s Apartments were made by Josiah Key – William’s locksmith.

This was where the Yeomen of the Guard kept watch (and slept) when the king was in residence and was also a public room where, as long as you were dressed correctly, you would be admitted. The arms display consists of original seventeenth and eighteenth century arms and armour. It was originally created in 1699 by the king’s gunsmith, John Harris, out of 2871 pieces from the Tower of London and showed off the wealth and power of the king, but also acted as a reminder of the ever present threat of rebellion and war. Behind the first door on the right in the Guard Room there is part of a Tudor arch which formerly accessed the Wolsey Rooms (currently holding the Young Henry exhibition). This shows how the Tudor stone was cut through and panelling used to cover it.

As you walk through the following rooms, notice how the decoration and furnishings e.g. chandeliers, wood carvings including those on the door surrounds, the engraved pier glasses and stands, etc, become increasingly elaborate and costly.

The King’s Presence Chamber

Don’t Miss • To the left, Sir Godfrey Kneller’s great 1701 equestrian portrait of William III Page 49 of 62 January 2014

• The Triumph of Hercules and Triumph of Bacchus tapestries (left and right of the fireplace respectively) are the only two remaining tapestries from a set of seven entitled The Antiques of the Gods purchased by Henry VIII in 1542. The design is attributed to two of Raphael’s assistants and they were woven in Brussels c1540 • The Chair of State and its matching stool are replicas dating from 1992 modelled on a chair in the Royal Collection from the time of Queen Anne. • William III’s coat of arms over the chair of estate: “Je maintiendray” (“I will maintain”) • The Dutch Delftware flower pyramids (or tulip vases) and the Chinese and Japanese porcelain displayed throughout the rest of the apartments • The two braziers on either side of the fireplace. These very rare spherical copper braziers were filled with hot embers to dry out and warm the royal apartments in preparation for a state visit.

This was the first reception room where the members of the court would gather to meet the king, who would be sitting on the chair of estate beneath the richly upholstered canopy. However, by William’s day its presence was mainly symbolic and most visitors would have been bowing/curtseying to an empty chair. As with the other public apartments, there is very little furniture because they were designed as meeting spaces. Kneller’s portrait of William III shows him as a warrior king who will bring peace and stability to his country. It was commissioned after the successful Peace of Ryswick in 1697, which marked the end of an eight year war with the French, and was especially painted for this room – William took a personal interest in the art shown in his palace. Although William and Mary’s accession to the throne was virtually bloodless, there was Jacobite (Stuart) opposition to their rule which meant that William was not only fighting on the continent but also internally such as at the Battle of the Boyne in Ireland.

Mary was a keen collector of Far Eastern porcelain and Dutch Delftware and was responsible for introducing the Dutch fashion of displaying blue and white ware on specially designed shelves and mantelpieces. At Hampton Court today there are over 100 items dating from Mary II’s time.

The King’s Eating Room

Don’t Miss • The wheat ears and fruit in Grinling Gibbons’ limewood carvings framing the portrait above the fireplace which indicate the room’s use • Two tapestries from the “Acts of the Apostles” • Portrait of King Christian IV of Denmark (over the fireplace) brother in law to James I, painted by Karel van Mander III c1640. An appropriate choice for this room as he was notorious for his excessive eating and drinking

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William used this room to eat in front of invited guests but generally disliked the practice of public eating and it rarely happened. The room is relatively bare but opulently fitted out to create an atmosphere of luxury and grandeur. The two tapestries, The Miraculous Draught of Fishes (woven in two halves possibly to fit its unknown original location) and Elymas the Sorcerer Struck Blind before Sergius Paulus are part of a set of nine. They were probably woven in the early seventeenth century in Brussels based on Raphael’s designs for a set of tapestries for Pope Leo X. The original Raphael cartoons were bought in 1623 by the future Charles I for his new tapestry workshops. William III recognised their importance and built his ‘Cartoon Gallery’ behind these State Apartments to display the drawings. Seventeenth century copies of the Raphael Cartoons for this set of tapestries can be seen in the Cartoon Gallery.

King’s Privy Chamber

Don’t Miss • Second chair of estate with its rare and original canopy. The chair of state and footstool are replicas dating from 1992. • Two of Henry VIII’s tapestries from The History of Abraham series • Painting of James I’s daughter, and William and Mary’s great aunt, Elizabeth of Bohemia (over the fireplace) by Gerrit van Honthorst c1632, reminding guests of their royal Stuart lineage. Her grandson succeeded to the English throne in 1714 as George I. • Look out of the windows at the Privy Garden which is perfectly aligned with the Privy Chamber

This was the main ceremonial room in William’s palace where formal receptions were held, and also parties and balls and was designed to impress. The room was damaged by the fire in 1986 when the ceiling collapsed and the chandelier crashed to the ground. (Anecdotally, it took 600 working hours to excavate the fragments and re-affix them). The two tapestries, The Return of Sarah by the Egyptians and God Appears to Abraham are part of a set of ten, all woven with gold and silver thread and were commissioned by Henry VIII. (Another is in The King’s Great Bedchamber, six are in the Great Hall and one is in Conservation). William chose these tapestries, not only for their value, but because they were in excellent condition. William was the first English monarch to keep tapestries on permanent display - previously they had been brought out only on special occasions.

The King’s Withdrawing Room

Don’t Miss • Portrait of Charles I opposite William’s chair with its rich limewood carving over and around Charles’ image

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• Two more tapestries from the Acts of the Apostles series: The Martyrdom of Saint Stephen and The Conversion of St Paul

This room marks the boundary between the public and private apartments and only the most important people eg secretaries of state, and specially invited guests, would have been admitted here. It is an informal space where the real business of government was carried out. Again there are very few chairs as most people had to stand in the King’s presence. It could be seen as an odd choice to have the picture of an ancestor (Charles I) who was beheaded but perhaps William is acknowledging the lesson to be learnt - that of sharing power with Parliament - and also reinforcing his claim to the throne.

The King’s Great Bedchamber

Don’t Miss • The beautiful painted ceiling by Antonio Verrio, 1701 18 • William III by Candlelight by Dutch artist Godfried Schalcken, c1695 • The great velvet state bed and matching furniture purchased by William III • Part of Queen Mary’s vast collection of Chinese and Japanese porcelain displayed on the mantelpiece (overmantles), especially designed for this purpose. • The State Bed attributed to a Parisian upholsterer, France 1690-99. It is the earliest of the State Beds surviving at Hampton Court. • Portrait of Anne Hyde, Duchess of York, 1637-71, over mantelpiece. She was the first wife of James II, a Protestant, and mother of the future Queen Mary and Queen Anne. th • One tapestry from the Acts of the Apostles series, Brussels 17 century, Paul Preaching at Athens and one from the Abraham series (Brussels 1541-43)Abraham Purchases the Field of Ephron • Grinling Gibbons’ carved fireplaces and architectural mouldings

This is the last and grandest state room and only the most privileged visitors would have been allowed into it. However its use as a bedroom was mainly symbolic. William followed the French custom of the levée and couchée here to keep up with the French court of Louis XIV, although in reality he had little time for any form of ritual. William was much more likely to have slept in either the Little Bedchamber or in a room in his private apartments downstairs. The painted ceiling illustrates the story of Diana and Endymion showing Endymion, the mortal (who fell in love with

18 August 2013: William III by Candlelight by Dutch artist Godfried Schalcken on loan from the National Trust hung in the King’s Great Bedchamber as part of the “Beds” exhibition. The artist specialised in candle lit subjects. Page 52 of 62 January 2014

Diana, the moon goddess) sleeping in the lap of Morpheus, the god of dreams.

The King’s Little Bedchamber

Don’t Miss • Another beautiful painted ceiling by Antonio Verrio, Mars asleep in the lap of Venus • Yellow damask with silver lace is a replica of the wall hangings chosen by William • More of Mary’s collection of Chinese and Japanese porcelain Everything here is on a much smaller more intimate scale, although still luxurious. William could retire here in relative privacy with his guests and bedchamber staff. The ceiling painting contains a famous trompe l’oeil: William as Mars, the god of war, shown in the arms of Venus, the goddess of love, representing Mary, whose eyes follow you as you cross the room. Decorating the border are orange trees and rose bushes symbolising the union of William’s House of Orange and Mary’s House of Stuart.

The King’s Closet and Back Stairs

Don’t Miss • Long case clock by Daniel Quare, 1700, which only needs winding up once a year, an extraordinary piece of technology for the day • A late seventeenth century close stool, probably made for William (top of the backstairs on the left). • Painting of William III as Solomon, Jan van Orley c1695 (top of stairs)

This room is the most intimate in the State Apartments, a study where William would conduct business either in private or with his senior advisors. The door in the far corner leads to Queen Mary’s apartments, a suite of rooms which mirror William’s, although sadly she died before they were completed. The jib door (a door which is concealed by decoration matching the surrounding walls) on the left leads to the close stool and the Back stairs leading to William’s private rooms, intended exclusively for the King and his bedchamber staff.

Go down the stairs to

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King William’s Private Apartments19

Don’t Miss • The low ceilings – very different from the spacious grandeur upstairs.

William preferred his own company or to be with a few friends in his private apartments. The exact use of each room is not known in all cases but can be guessed at. The Italian and Dutch painters of the sixteenth and seventeenth century, and in particular Van Dyck, which hang on the walls in the Apartments, were particularly liked by William and give a good idea of his taste. Apart from those bought or commissioned by himself, many are from the collections of Charles I and II.

Rest Room

Don’t Miss • Chocolate Court which can be seen through the window

This was where William’s chocolatier worked. He would bring William hot chocolate every morning.

Museum/Display Room The objects in this room relate to the lives of William and Mary.

The East Closet

Don’t Miss • Painting of Charles I on horseback

Several of the paintings are hung as recorded after William’s death in 1702. They are hung on ropes which allowed them to be moved easily. The picture of Charles I was painted by Anthony Van Dyck c1635-6, probably as a study (modello) for the great equestrian portrait in the National Gallery. The picture frame is of the auricular Sunderland type in vogue between 1660-1680 and was promoted at the court of Charles II by the Earl of Sunderland.

19 May 2013; 2 paintings by French artists Jean Perreal and Francois Clouet Louis XII and Hercule-Francois, Duke of Alencon and of Anjou hung in the King’s Private Apartments where they were recorded during the reigh of William III. They now hang in the West Closet. Hercule-Francois was the youngest son of Henry II of France and it is possible that this portrait was sent to England as part of the proposed marriage negotiations between him and Elizabeth I. Page 54 of 62 January 2014

Middle Closet

Don’t Miss • Elaborate brass locks with royal ciphers on the doors by William’s master locksmith, Josiah Key.

No bed survives but it is assumed that this was William’s private bedchamber because of the locks on the doors, and the fact that the middle door leads straight to the Stoolroom. The locks are positioned on the inside of the room’s three doors so that William could lock himself in at night. William’s choice of paintings in here appropriately include a number of subjects set at night.

West Closet

Don’t Miss 2 paintings by French artists: • Louis XII by Jean Perreal. First recorded in the Royal Collection during the reign of Henry VIII and was in the King’s Private apartments at Hampton Court in the reign of William III. • Hercule-Francois, Duke of Alencon and of Anjou by Francois Clouet. The painting was also at Hampton Court in the reign of William III. • Carvings from the workshop of Grinling Gibbons above the fireplace • The four-tiered pagoda vase is all that remains of a taller, probably nine tier, vase. • Painting over the mantelpiece: Margaret Lemon, van Dyck’s mistress, painted in 1638

Possibly William’s study or dressing room. The Grinling Gibbons’ carvings include musical instruments so this room could have been used for music.

Orangery

Don’t Miss • The orthocone (straight cone) cephalod fossils in the Swedish limestone tiled floor • The panelling with three doorways on the right hand wall concealing Wren’s Grotto which was never finished • The Privy Garden which can be seen through the windows. It was created strictly for William and Mary’s private use and was otherwise kept securely locked • The wonderful wrought iron screen at the bottom of the garden, made by Jean Tijou (who also made the banisters on the King’s Staircase)

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This was a place to walk in bad weather and where William’s orange and bay trees were kept in winter. It overlooks the Privy Garden, which has been restored to the designs created for William. The five Italian marble statues of classical gods were originally bought for the garden but in recent years have been brought indoors for conservation reasons.

Private Drawing Room

Don’t Miss • Princess Mary (William’s mother) as a child by Anthony van Dyck • William III and Queen Mary on Horseback by the French artist Adam van der Menlen20. • Barometer: William was interested in the weather as it affected his ships, whether they were trading or on military campaigns, and his asthma!

William was an intelligent, industrious and well read monarch with a variety of interests. This is possibly where he would read and study. Princess Mary was Charles I’s eldest daughter and it was through her that William claimed his right to the throne.

Private Dining Room

Don’t Miss • Alcove at far end with marble topped table designed to display the collection of silver gilt. Some of these are copies of the original silver gilt which is now kept in the Tower of London • Sir Godfrey Kneller’s Hampton Court Beauties21

This room was fitted out as William’s private dining room in 1700, towards the end of his life. Wine was served from an alcove, and dirty plates removed to it. After dinner a shutter would be dropped leaving the king and his guests in complete privacy. After Mary’s death and towards the end of his life, William was eating and drinking heavily, and one can imagine that this room must have witnessed many nights of over indulgence. The paintings of the Hampton Court Beauties were commissioned by Mary to show off the beauties of William’s court and were brought here by William after Mary’s death.

EXIT into empty hallway with view of internal courtyard. Turn left and then right back into King’s Staircase hallway.

20 Christ in the House of Martha and Mary by Hans Vriedeman de Vries replaced by William III and Queen Mary on Horseback. In 1995 the subjects of this painting were identified as the Prince and Princess of Orange, the parents of William III, and the painting is probably a preliminary design for a set of tapestries commissioned by William III c1695 21 Private Dining Room: Hampton Court Beauties reinstated after forming part of the exhibition The Wild, the Beautiful and the Damned Page 56 of 62 January 2014

Georgian Private Apartments (13 rooms)22

This route is closed and in the process of being re-presented.

‘The Glorious Georges’ route will open in April 2014.

The Cumberland Suite will reopen in November 2014 as part of the new Art Route.

Revised notes will follow once the new routes are open – original notes below.

Recommendations

Short Visit: Cumberland Suite Longer Visit: Cumberland Suite/ Communication and Cartoon Galleries

Don’t Miss • Italian Old Masters on display in the Withdrawing Room, Cumberland Suite • Wolsey Closet – one of the few remaining parts of Henry VIII’s private apartments

Brief History

By the time George II became king (1727) parts of the original Tudor palace were uninhabitable. George II and his wife Queen Caroline required more room to accommodate a growing family (with eventually seven children surviving infancy) and in 1732 they embarked on a major rebuilding and

22 See (2) and (4). Oct 2013 Several paintings returned from the Royal collection exhibition “In Fine Style: The Art of Tudor and Stuart Costume” will be hung in the Queen’s Apartments in early 2014 as part of the Hanoverian accession display. Two other paintings “An English Indiaman and Three Spanish Privateers” and The End of the Action between the English Indiaman and Three Spanish Privateers” by Dutch artist Willem van De Velde will be hung alongside others from the series of 12 which hang in the Georgian Private Dining room. Page 57 of 62 January 2014

renovation programme at Hampton Court Palace. The Tudor royal range running from Clock Court to Fountain Court was replaced and this is recorded by the King’s initials and the date 1732 over George II’s Gateway.

The rooms are laid out as they were in 1737, the last time George II and Queen Caroline stayed here and the last time the royal family formally used the palace as a home.

The Cumberland Suite23

Cumberland Suite closed for refurbishment until Nov 2014 when it will open as part of the new Art Route.

Don’t Miss • Plaster ceiling in the Presence Chamber – a very early example of the Gothic Revival style • Georgian travelling bed and Italian Old Masters in the Bedchamber

The Cumberland Suite, which replaced Henry VIII’s state rooms, was built for William, Duke of Cumberland, Queen Caroline’s youngest and favourite son. It was designed by William Kent, the most fashionable architect and designer of his time, in the Gothic style. The rooms were elegant and fashionable, reflecting Queen Caroline’s interest in the latest trends.

The Presence Chamber: Has painted wood panelling and rich gilding. There is very little furniture as this was where the favoured few were introduced into the ‘royal presence’ and would not be sitting down. There is a great view from the window of the astronomical clock across Clock Court. It was probably designed by Nicolaus Kratzer in 1540 and made by Nicholas Oursian, Henry’s Clock Keeper at Hampton Court. It shows hours of the day, day of the year, position of the sun in the zodiac, date and time, indicates phase and visible portion of the moon, and even shows the time of high tide – essential for Henry and his court who travelled by river.

The Bedchamber: A rare travelling bed of silk damask, probably made for George II while Prince of Wales c1725 was one of many such beds at the palace during its occupation by George II and Queen Caroline. There are two closets on either side of the bed: a stool room and a dressing room respectively. There is also a wonderful collection of paintings by Italian Old Masters, including Caravaggio.

The Withdrawing Room: The painting collection continues into this room. Originally this was where the Duke’s visitors would have been entertained.

23 The Cumberland Suite + entrance corridor closed w/c 6 May 2013 to allow for major electrical and heating works plus re-presentation of the rooms. All paintings and furniture moved into storage at HCP. The refurbished rooms will re-open in November 2014 as part of the new “Art Route”. Page 58 of 62 January 2014

The Wolsey Closet

Don’t Miss • The leather maché ceiling with Henry VIII’s Tudor roses and ostrich feathers • The earlier paintings underneath the Christ’s Passion series revealed by conservation: one above the door and one to the right of the window

This was not originally a closet but is a small part of the original room which would have been four times as large. It is in fact one of the few surviving parts of Henry VIII’s original private apartments and would have been magnificently decorated. It was probably not used by Wolsey but was called after him at a later date. The walls containing the window and fireplace are the two original walls and the other two are partitions introduced at a later date, but started during Henry’s time. The majority of the items in the room are 16th century and probably from Hampton Court Palace but not necessarily original to this room. The ceiling dates back to the 1530s and was possibly cut down from another part of the palace. The Prince of Wales’ feathers date it to after the birth of Edward VI in 1537 but these could have been added to the original ceiling decoration. The paintings, an incomplete series showing Christ’s Passion, are also from the Tudor period and also possibly from another part of the palace. The 19th century linenfold panelling on the walls was sold to the Office of Works by Ernest Law.

Most of the rooms which follow were built by Sir Christopher Wren for William III and Mary II from 1689 onwards and were subsequently redecorated by the Georgians.

The Communication Gallery

Don’t Miss: • Door lock case on the end door with ‘W&M’ emblem, which is on all doors in this gallery • Look out of the windows onto Fountain Court below - there has been a courtyard here since the days of Henry VIII. The square windows on the top floor level belonged to the private rooms of important courtiers, who used to promenade in the courtyard to show off their fine clothes. • Look at 2 paintings in the small room at the end of the Gallery:

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 The Netherlands artist, Leonard Knyff’s bird’s-eye View of Hampton Court Palace during the reign of George I c1702-1424.  A painting showing the Water Gardens in Bushy Park in 1710. This was used to help with their restoration in 2006.

William III created this grand corridor to access the chapel from his apartments. It marks the transition from the Tudor part of the palace to the Baroque. The walls are lined with the Windsor Beauties, Sir Peter Lely’s paintings of the ladies of the Stuart court. 25 26

The Cartoon Gallery

Don’t Miss: • The beautiful Grinling Gibbon carvings on the walls • The marble carvings above the fireplace, also attributed to Grinling Gibbons • Go into the small room at the end of the Gallery, look up and see the Tudor rose scratched on to a pane of glass in the 1970s. • Marks on the original oak windowsills following the fire of 1986.

There is no furniture here because it was designed by Wren as a picture gallery, one of the first to be purpose built in Britain. The cartoons (preparatory drawings for tapestries) on display are entitled The Acts of the Apostles. They are seventeenth century copies of cartoons by the Renaissance artist, Raphael. The originals were acquired by Charles I in 1623 and are now in the V&A. A tapestry copied from the cartoon above the fireplace, The Miraculous Draught of Fish, and The Blinding of Elymas is on display in the King’s Apartments. Much of the carving and panelling is new or restored following the fire of 1986.

George II would hold meetings with his ministers here and he and Caroline also used the Gallery for grand balls and dinners.

24 Leonard Knyff’s bird’s eye View of Hampton Court Palace taken down February 2013 for conservation work prior to inclusion in exhibition at Orleans House Gallery “Arcadian Vistas: Richmond’s Landscape Gardens” 4 May-21 July 2013. Rehung 29 July 2013 25 Communication Gallery: Windsor Beauties reinstated after forming part of the Wild, the Beautiful and the Damned exhibition 26 10 May 2013: Frances Stuart, Duchess of Richmond included in Royal Collection exhibition “In Fine Style: the Art of Tudor and Stuart Fashion” at The Queen’s Gallery, Buckingham Palace 10 May-6 October 2013, re-opening at The Queen’s Gallery, Palace of Holyroodhouse, March 2014 Page 60 of 62 January 2014

The Queen’s Private Apartment27

Don’t Miss • The oak panelling and look up at the carved overdoors and overmantels in each room • The ornate Grinling Gibbons carvings, particularly in the Bedchamber and Oratory • The stepped chimneypieces in several of these rooms made to display exotic Chinese and Japanese porcelain • The built in frames in some of the rooms

These rooms were Queen Caroline’s private apartments where she would have relaxed with her family. They are furnished as they would have been in 1737, shortly before her premature death.

Drawing Room: The Queen would have spent a lot of time in this room and it is here that she would have entertained her close friends. The room is laid out for tea and a card game.

Bedchamber: The walls are lined with tapestries which were used to exclude draughts. The angel bed with its tester (roof) hanging from the ceiling is not the original, which has disappeared. The brass locking mechanism on the door is original and can be operated from the bed, so ensuring that the occupants of the bed are not disturbed.

Dressing Room and Bathroom: Privacy was provided for the Bathroom area by a low screen, while the part facing Fountain Court was used as a dressing room. Queen Caroline was unusual for her time in that she believed in regular baths! While she was bathing the Queen would have sat on a stool inside the wooden tub with a linen liner. The marble cistern provided cold water - hot water was brought in through the door on the right via the back stairs by the Queen’s Necessary Woman. There is a magnificent 1695 silver-gilt toilet service on display.

Small closet and toilet: The toilet was once situated behind the closed door of this very small room. Queen Caroline had one of the few garderobes in the Palace.

Dining Room: Here the Queen usually ate alone with a main meal at 3pm. It is a large wood panelled room with the table laid with silver plate. The paintings are of naval battles from Charles II’s Anglo-Dutch wars by Willem van de Velde. These were part of a set of 12 commissioned by James II. (According to Thurley, the Georgians thought they showed the Armada!).

27 The Queen’s Private Apartments were part of the “Secrets of the Royal Bedchamber” exhibition – Oct 2013, having been re-united with Queen Caroline’s Public Apartments for the first time in decades. They are currently closed until Easter 2014. Page 61 of 62 January 2014

Over the doors there are two religious paintings with ornate carved ‘frames’ in the panelling.

Sideboard room: The Groom of the Stole used this for serving and to rinse glasses in the marble cistern. There are old bottles and glasses on the table.

Oratory: This was Caroline’s private oratory where she came regularly to pray. It has a magnificent octagonal domed plaster ceiling with the inside of the skylight like a lantern. There are beautiful Grinling Gibbons carvings in lime wood which were then painted. The lectern holds a 1728 prayer book. A portrait of Samuel Clarke, one of Queen Caroline’s chaplains, hangs here.

As you EXIT, notice the beautiful cantilevered staircase taking you downstairs and into Fountain Court.

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