THE WATERLOO CHAMBER. If the time allotted to visitors for viewing the State Apartments was extended, which considering the number, would hardly be practicable, or if it were possible to be left alone in this gallery, what a host of associations might not the thoughtful faces gazing on us from those walls awaken ? Here are preserved to future ages faithful resemblances of those in whose hands were placed the destinies of Europe, at a crisis pregnant with most fearful consequences; no marvel, then, that much thought and many cares should have left indelible memorials on the brow! When we entered the room, we expected to find among the rest the portrait of Napoleon, but it was not there; and upon reflection, we could not but approve the good taste that excluded the vanquished Emperor from the society of him who trampled the Imperial ensigns in the dust. Among this most interesting series of historical portraits, there is none comparable, as a work of art, to that of Pope Pius the Seventh. This, and its companion, Cardinal Gonsalvi, were painted by Sir Thomas Lawrence, at Rome, whither he repaired for the express purpose. Sir Thomas was prophetic when he said that this "would probably be the best picture he ever painted:" never, perhaps, was the feebleness of age, but feebleness of the frame only, so truly represented; one stands before this picture with involuntary respect: there is a paternal benignity in the face, an appealing gentleness of aspect, an expression of a spirit resigned and broken, that taken together, make the picture inexpressibly touching. The marked physiognomies which different modes of life bestow upon men are seen well contrasted in this gallery; you would almost imagine Hardenberg, Metternich, and Canning, their countenances full of speculation and deep thought, beings of a different species from the bold bluff Blucher, Platoff, and Alten. It is strange that the portrait of the conqueror of Waterloo should be very inferior to many of the others: the countenance has by no means its true expression, and the figure is stiffly drawn, and in an ungainly attitude. The portrait of the unfortunate Duke of Brunswick, who was killed at Waterloo, son of the Duke who died gloriously on the plains of Jena, will be regarded with a melancholy interest. This apartment was set apart expressly as a repository for the portraits of sovereigns, diplomatists, statesmen, and warriors, in commemoration of the ever-memorable battle from which it derives its name. The portraits in the room, with the exception of the eight last mentioned, are the works of Sir Thomas Lawrence. An apartment of singularly beautiful construction, the effect peculiarly light and elegant. This room contains six suits of ancient armour of the time of Elizabeth and Charles the First. THE GRAND STAIRCASE. In a deeply recessed arch in this staircase, worthy of the magnificent suite of rooms to which it forms the approach, is a fine statue in marble of George the Fourth, by Chantrey. THE COUNCIL CHAMBER. The paintings in this splendid apartment are the following: Landscape, with Claude drawing, Claude. Holy family, A. del Sarto. St. Agnes, Domenichino. Interior of a church, De Landscape and cattle, Ber- Landscape, with Rome in the THE VESTIBULE Contains five pictures by Benjamin West. The subjects are :— King Edward entertaining his prisoners after the surrender of Calais. Edward the Black Prince, receiving King John of France, when a prisoner, after the battle of Poictiers. Philippa, Queen of Edward the Third, at the battle of Neville's Cross. Edward the Third embracing his son after the battle of Cressy. Queen Philippa interceding for the valiant citizens of Calais. In this room also are two valuable busts in terra cotta, of King Edward the Third, and his heroic queen. THE KING'S DRAWING ROOM, Called also the Rubens Room, all the pictures, eleven in number, being attributed to that master. The subjects are as follows: Portrait of Rubens, when about forty. St. Martin dividing his cloak with a beggar. Philip the Second of Spain on horseback. Rubens' second wife, Helena Forman (?)— The last-mentioned picture thus described by Dr. Waagen, and Smith, in their catalogues. Mrs. Jameson considers this portrait that of Elizabeth Brandt, the first wife of the painter. Landscape, Winter. Landscape, Summer. (Companion.) Family of Sir Balthasar Gerbier. Portrait of a middle-aged man, half length. Don Ferdinand, and the Archduke Ferdinand of Austria, at the battle of Nordlingen. In this room is preserved the chair manufactured from the rafters of "Allowa's auld Haunted Kirk," and presented to George the Fourth when. he visited Scotland. In this little room, preposterously furnished with pale blue silk hangings, are the under-mentioned pictures : The last apartment of this suite, and the most attractive, is called THE VANDYCK ROOM. The pictures in this apartment are all attributed to Vandyck, and are, with very few exceptions, not only historically interesting, but exquisite specimens of the master. The Duke of Berg. George Villiers, second Duke of Buckingham, and his The Prince of Carignano. Madame de St. Croix. Charles the First, in three Sir Kenelm Digby. Charles the Second when a Charles the First, in armour, A portrait of a gentleman. Her Majesty's private apartments and those set apart for the accommodation of the royal visitors, occupy the east and south side of the upper ward. The apartments in the ordinary occupation of Her Majesty and which are shown only by an order from the Lord Chamberlain, in the absence of the Court, comprise a dining room, two drawing rooms, library, and the requisite apartments of all descriptions for the personal accommodation of the monarch. The library occupies the whole of Chester Tower, which together with the principal rooms in the Black Prince's, Chester, Clarence, and the King's Towers, are lighted by oval windows of great magnificence; this part of the building has the floors arched with brick, and the girders of iron, as a security against accidents by fire. Upon a lofty pedestal at the west end of the quadrangle is an equestrian bronze statue of Charles the Second; the base beautifully sculptured by Gibbons. |