to read who please. A little study of it will fix in the mind all Henry's queens and his offspring. The arrangement of the Great East Window was finished in 1843 by Mr. Willement. UPPER WINDOWS. 1. Arms of the Kingdom of France. GREAT EAST WINDOW. The openings of the arched head of the window are filled by rich foliage patterns on deep coloured grounds. In first space: His Badge and Portcullis.-His Name.Arms of John Beaufort, Duke of Somerset.-Portcullis.The White Greyhound of the House of Lancaster supporting a Banner charged with a Portcullis. In second: Her Badge the Daisy.-Arms of Margaret Countess of Richmond.-Her Name.-Arms of John Beaufort, Earl of Somerset.-His Name. In third: Arms of King Henry VII.-His Name.-His Badge the Red Dragon.-Arms of John, Duke of Lancaster. -His Name. In centre: Effigy of HENRY VIII. The York and Lancaster Lines uniting in a Rose.-Arms of HENRY VIII.His Name.-The Arms of King EDWARD III. In fifth: Arms of Elizabeth of York.-Her Name.-Her Badge the Rose en Soleil.-Arms of Edmond, Duke of York. His Name. In sixth His Badge, the Rose en Soleil.-Arms of King Edward IV.-His Name.-Arms of Richard, Earl of Cambridge.-His Name. In seventh: His Badge, the Falcon within the closed Fetterlock.-His Name.-The Arms of Richard Duke of York.-Falcon within the Fetterlock.-The White Lion of the House of York, supporting a Banner charged with a Falcon within an open Fetterlock. Below the arms of Edward III. is the stock of Plantagenet, from which springs, on the dexter side, the branch of Lancaster-the Red Rose; on the sinister side, springs the York branch-the White Rose. A large bay window, with richly carved pendent fans, of unusual lightness and elegance, is a prominent and beautiful feature, at the upper end of the south side of the hall. The arms and ciphers of Harry the Eighth, H. R., and of Jane Seymour, his queen, J. R, "bownd to serve and obey," are inserted in coloured glass in the windows, whilst below are the arms of Wolsey, with a cardinal's hat on either side, and obliquely-"The lord Thomas Wulsey, Cardinal, legat de Latere, Archbishop of Yorke, and Chancellor of Englande," and this motto, "Dominus mihi adjutor." These are modern restorations in correct taste, directed by Mr. Willement. From the dais, or raised portion of the floor-on which the table for the most distinguished guests was placed,—the proportions of this noble interior may be best examined; its length is 106 feet; its width 40 feet; and height 60 feet. It strikes us as more imposing than that of Christ Church, Oxford (114 feet in length, 40 feet in width, 50 feet in height), to which it has a remarkable likeness. Both buildings may possibly have owed their design to Wolsey. Here in this very hall, standing in the midst of the cardinal's palace, tradition tells us, that Shakspeare, in his drama of "Wolsey's fall," acted before Queen Elizabeth, but we are inclined to disbelieve it. PRESENCE CHAMBER, OR WITHDRAWING ROOM. AR more ancient in look is this chamber, though it has not escaped the modern paintbrush. Tudor badges of the rose, fleur-delis, portcullis, &c., hang from its flat but square panelled ceiling. A bay window of unusual form, being semicircular, nearly opposite the entrance, projects into the Kitchen-court. The lower part of this very curious and almost unique bay window has been recently ornamented with suitable stained glass, also by Mr. Willement. The upper portion represents the arms of Henry VIII., the lower, those of Wolsey, and those of the bishoprics of Durham, Bath and Wells, Winchester, Lincoln, and York, which he held. The length of the room is about 70 feet; the breadth 29 feet; and the height about 20 feet. T THE TAPESTRIES. HE hangings or tapestries-also called “Arras," because that place in Flanders was the chief site of their manufacture-next command our attention. It was a highly judicious act to release them from serving as backgrounds to nail pictures against, and hang them in the hall-a most appropriate pla e to receive them. The old hall of Wolsey, we know, was hung with tapestry. In the inventory of his goods there is the following memorandum:-"That in the moneth of Auguste, anno xv° Regis Henrici VIII. seven peces of the lozenge verdours within written were shorne and newe dressed on the wronge side, and made mete for the hanging of the halle at Hampton Courte, by reason whereof they were demenyshed in depth." A whole day may be spent in contemplation of these tapestries. They are fine remnants of the chief decorations with which our ancestors rendered their dwellings beautiful and warm. The churches, being safe from violence, were adorned with paintings on the walls; but castles, and other residences less secure, employed tapestry, which was constantly moved. In the Wardrobe Account, taken in the first year of Edward VI., above five hundred pieces are specified as being at Hampton Court, exclusive of cloths of estate. There was tapestry suitable to the importance of the day. In Wolsey's inventory mention is made of "olde peces of hangings whiche served for the hang ing of Durham's Halle of inferior days." All the tapestries now in the hall certainly belonged to the palace when it was occupied by Henry VIII. For the superior excellence of its design, the tapestries under the Music Gallery deserve the first notice. They may possibly have belonged to the series in the "Legate's Chamber" in Wolsey's time, (Note F.) The composition of many groups is very graceful, and the expression of the figures full of meaning. The allegory of the first, near the entrance, seems to allude to man's submission to sin, and his pardon. Figures are labelled "Justicia" (Justice), "Fides" (Faith), and "Caritas" (Charity). In the left corner is a woman, "Femme," holding a label in scribed "Ascendit mors per fenestras," (Death ascends through the windows.) Justicia, with a sword, is threatening the sinful "Homo" (man), whilst Misericordia (Mercy) An interferes on his behalf. Above are three kings (perhaps intended for the Trinity); "Pax" (Peace), Misericordia, Veritas (Truth), and Justicia, are pleading before them. other group consists of the same man, "Gracia dei" (God's grace), presenting armour to him, whilst "Pax" is holding his helmet. Another label, held by a male figure, is inscribed "Reddam ultione hostibus dent xxxii." (?) A group, high on the right, consists of "Luxuria" (Luxury), "Avaricia" (Avarice), "Gula" (Gluttony), &c., about to be dispersed by "Spes" (Hope). Further on the right sits a king, attended by various figures. "Humilitas" (Humility) on his left. The legend of the next is as follows: "Ante Judicem in Virtutum presencia," (Threatened is Crime by Justice,) On the third piece, which is thus inventoried among Henry VIII.'s goods at Hampton Court-"One pece of Tapistre of seven deadlie synnes, lined with canvas"—are the following, the first being rather untranslatable :— "Per colum incipiens primo vanum,' (Mortal becomes and profane.) "Septem peccata sicut generantur" (The seven sins, as they are generated) "In mundo, figuralitur hic volantur," (In the world, figuratively here are fleeting.) We may trace each sin associated with some animal or nondescript, as in the descriptions of the poets of the time, though the association is not always similar. Thus, in the procession to the "sinful house of Pride," in the "Faerie Queen"— Sluggish Idleness, the nurse of sin, Deformed creature, on a filthy swine. Upon a bearded goat. Greedy Avarice did ride Upon a camel loaded all with gold. Upon a ravenous wolf. Revenging Wrath, Upon a lyon, loth for to be led. In the tapestry before us― "Superbia" (Pride), rides on a nondescript. "Impenitentia" (Impenitence), on a camel, "Invidia" (Envy), on an ass. "Ira" (Wrath), on a griffin. (Indistinguishable) with an ape. The arras in the hall consists of eight compartments, belonging to a series of ten pieces, each one representing incidents in the history of Abraham: as specimens of an art nearly extinct, there are none like them for splendour-the high lights being worked in gold-to which the public enjoys a right of access in this country. In the survey of Henry's effects (Bib. Harl. 1419) they are thus described: Item-Tenne peces of newe arras of thistorie of Abraham. whereof One containeth, in length, ix yardes quart iii nailes; in depth, v yardes quart. The seconde. viii yardes iii quarters v yardes quart. It has been conjectured that they may have been presented to Wolsey by Charles V., or by Francis I. to Henry VIII. Most likely Henry bought them. They are attributed to Bernard Van Orlay, Raffaelle's disciple. Several figuresthat, for instance, of the angel most forward in conversing with Abraham, in the compartment on the dais of the hall, which bears a strong resemblance to Christ in Raffaelle's car |