Page:The Strand Magazine (Volume 6).djvu/9
The paintings are: "The Opening of London Bridge," "Her Majesty's First Majesty's First Council at Kensington Palace" (a copy), "The Pantheon" and "The Colosseum" (both by P. Pamini), and portraits of Edward Duke of York—after Pompeo Batoni—Princess Sophia Matilda Matilda Duchess of Gloucester, Frederick William I. of Prussia, in armour and robes, Queen Anne (in 1714) and George II., both by Kneller, and Caroline Queen of George II., after Seeman.
I may here mention that Her Majesty is often most kind in lending valuable paintings and other works of art for the various exhibitions in all parts of the country. In fact, the first painting I mentioned in this room was about to undergo some little repair necessary after its journey to and from the County of Potteries.
You will have noticed that the suite of rooms through which we have passed is continuous. Having commenced with the "Carnarvon Room," it finishes with the one we are now entering, known as the "Chapel Ante Room." The rare old paintings are a study that would be a delight to any connoisseur; some are as much as fourteen hundred years old, but are still in splendid preservation.
H.R.H. the Princess Louise—herself an artist of repute—is immensely interested in this selection, and, indeed, used some of them in the chapel for the marriage of H.R. H. the Princess Louise of Wales to the Duke of Fife; on which occasion Her Royal Highness had the whole of the decorations under her personal supervision. A large picture of much interest has a temporary resting-place here; it is an immense group representing the New South Wales Contingent that took part in the Soudan Campaign, being the first assistance sent from the colonies to the help of the mother country. Services volunteered and given free of expense are well worthy of record, and doubtless Her Majesty the Queen values this fine portraiture of these valiant soldiers.
We now pass through a corridor diverging to the right, and find ourselves in the "Private Chapel." This was consecrated in 1843. It is quite of moderate size, but is beautifully enriched and decorated in the German style. The supporting pillars were brought from Carlton House; the roof is artistically painted in pale colourings blended with rare skill and merit. The walls are panelled in crimson velvet, a few choice old paintings being noticeable, one, you will observe, bearing date 1330. The altar is simplicity itself, speaking eloquently, as does the entire interior, of the quiet yet truly artistic taste—blended with the deep religious convictions, which delighted in quiet worship rather than pomp and pageant—characteristic of H.R.H. the Prince Consort; for he it was who personally superintended the entire arrangements of this charming edifice.
The altar, then, is quite plain: just covered with crimson velvet edged with bullion fringe and letters worked in gold. On it reposes the gold plate of George IV. Above hangs a fine piece of Gobelin tapestry, the subject being "John Baptizing Christ."
On the right, as you face the altar, is a pure white alabaster pulpit, and on the other side the organ and choir. The Royal pew is upstairs, facing the altar, and is beautifully fitted in crimson and gold. On either side of it are pews for the ladies and gentlemen of the household.
The Grand Staircase.
From a Photo. by Debenham & Co.