Lippincott's Magazine of Popular Literature and Science, Volume 17, No. 097, January, 1876

A few who have not heard of them have heard of Wolsey. The pursy old cardinal furnishes the surviving one of the two main props of Hampton's glory. An oddly-assorted pair, indeed—the delicate Italian painter, without a thought outside of his art, and the bluff English placeman, avid of nothing but honors and wealth. And the association of either of them with the spot is comparatively so slight. Wolsey held the ground for a few years, only by lease, built a mere fraction of the present edifice, and disappeared from the scene within half a generation. What it boasts, or boasted, of the other belongs to the least noted of his works—half a dozen sketches meant for stuff-patterns, and never intended to be preserved as pictures. Pictures they are, nevertheless, and all the more valuable and surprising as manifesting such easy command of hand and faculty, such a matter-of-course employment of the utmost resources of art on a production designed to have no continuing existence except as finished, rendered and given to the world by a "base mechanical," with no sense of art at all.

Royalty, and the great generally, availed themselves of their opportunities to select the finest locations and stake out the best claims along these shores. Of elevation there is small choice, a level surface prevailing. What there is has been generally availed of for park or palace, with manifest advantage to the landscape. The curves of the river are similarly utilized. Kew and Hampton occupy peninsulas so formed. The latter, with Bushy Park, an appendage, fills a water-washed triangle of some two miles on each side. The southern angle is opposite Thames Ditton, a noted resort for brethren of the angle, with an ancient inn as popular, though not as stylish and costly, as the Star and Garter at Richmond. The town and palace of Hampton lie about halfway up the western side of the demesne. The view up and down the river from Hampton Bridge is one of the crack spectacles of the neighborhood. Satisfied with it, we pass through the principal street, with the Green in view to our left and Bushy Park beyond it, to the main entrance. This is part of the original palace as built by the cardinal. It leads into the first court. This, with the second or Middle Quadrangle, may all be ascribed to him, with some changes made by Henry VIII. and Christopher Wren. The colonnade of coupled Ionic pillars which runs across it on the south or right-hand side as you enter was designed by Wren. It is out of keeping with its Gothic surroundings. Standing beneath it, you see on the opposite side of the square Wolsey's Hall. It looks like a church. The towers on either side of the gateway between the courts bear some relics of the old faith in the shape of terra-cotta medallions, portraits of the Roman emperors. These decorations were a present to the cardinal from Leo X. The oriel windows by their side bear contributions in a different taste from Henry VIII. They are the escutcheons of that monarch. The two popes, English and Italian, are well met. Our engravings give a good idea of the style of these parts of the edifice. The first or outer square is somewhat larger than the middle one, which is a hundred and thirty-three feet across from north to south, and ninety-one in the opposite direction, or in a line with the longest side of the whole palace.

A stairway beneath the arch leads to the great hall, one hundred and six feet by forty. This having been well furbished recently, its aspect is probably little inferior in splendor to that which it wore in its first days. The open-timber roof, gay banners, stained windows and groups of armor bring mediaeval magnificence very freshly before us. The ciphers and arms of Henry and his wife, Jane Seymour, are emblazoned on one of the windows, indicating the date of 1536 or 1537. Below them were graciously left Wolsey's imprint—his arms, with a cardinal's hat on each side, and the inscription, "The Lord Thomas Wolsey, Cardinal legat de Latere, archbishop of Yorke and chancellor of Englande." The tapestry of the hall illustrates sundry passages in the life of Abraham. A Flemish pupil of Raphael is credited with their execution or design.

This hall witnessed, certainly in the reign of George I., and according to tradition in that of Elizabeth, the mimic reproduction of the great drama with which it is associated. It is even said that Shakespeare took part here in his own play, King Henry VIII., or the Fall of Wolsey. In 1558 the hall was resplendent with one thousand lamps, Philip and Mary holding their Christmas feast. The princess Elizabeth was a guest. The next morning she was compliant or politic enough to hear matins in the queen's closet.

The Withdrawing Room opens from the hall. It is remarkable for its carved and illuminated ceiling of oak. Over the chimney is a portrait of Wolsey in profile on wood, not the least interesting of a long list of pictures which are a leading attraction of the place. These are assembled, with few exceptions, in the third quadrangle, built in 1690. Into this we next pass. It takes the place of three of the five original courts, said to have been fully equal to the two which remain.

The modern or Eastern Quadrangle is a hundred and ten by a hundred and seventeen feet. It is encircled by a colonnade like that in the middle square, and has nothing remarkable, architecturally, about it. In the public rooms that surround us there are, according to the catalogue, over a thousand pictures. Leonardo da Vinci, Paul Veronese, Titian, Giulio Romano, Murillo and a host of lesser names of the Italian and Spanish schools, with still more of the Flemish, are represented. To most visitors, who may see elsewhere finer works by these masters, the chief attraction of the walls is the series of original portraits by Holbein, Vandyck, Lely and Kneller. The two full-lengths of Charles I. by Vandyck, on foot and on horseback, both widely known by engravings, are the gems of this department, as a Vandyck will always be of any group of portraits.

Days may be profitably and delightfully spent in studying this fine collection. The first men and women of England for three centuries handed down to us by the first artists she could command form a spectacle in which Americans can take a sort of home interest. Nearly all date before 1776, and we have a rightful share in them. Each head and each picture is a study. We have art and history together. Familiar as we may be with the events with which the persons represented are associated, it is impossible to gaze upon their lineaments, set in the accessories of their day by the ablest hands guided by eyes that saw below the surface, and not feel that we have new readings of British annals.

Among the most ancient heads is a medallion of Henry VII. by Torregiano, the peppery and gifted Florentine who executed the marvelous chapel in Westminster Abbey and broke the nose of Michael Angelo. English art—or rather art in England—may be said to date from him. He could not create a school of artists in the island—the material did not exist—but the few productions he left there stood out so sharply from anything around them that the possessors of the wealth that was then beginning to accumulate employed it in drawing from the Continent additional treasures from the newly-found world of beauty. The riches of England have grown apace, and her collectors have used them liberally, if not always wisely, until her galleries, in time, have come to be sought by the connoisseurs, and even the artists, of the Continent.

The last picture-gallery we traverse is the only one at Hampton Court specially built for its purpose; and it is empty. This is the room erected by Sir Christopher Wren for the reception of the Cartoons. It leads us to the corridor that opens on the garden-front. We leave behind us, in addition to the state apartments, a great many others which are peopled by other inhabitants than the big spiders, said to be found nowhere else, known as cardinals. The old palace is not kept wholly for show, but is made useful in the political economy of the kingdom by furnishing a retreat to impecunious members of the oligarchy. Certain families of distressed aristocrats are harbored here—clearly a more wholesome arrangement than letting them take their chance in the world and bring discredit on their class.

Emerging on the great gardens, forty four acres in extent, we find ourselves on broad walks laid out with mathematical regularity, and edged by noble masses of yew, holly, horse-chestnut, etc. almost as rectangular and circular. We are here struck with the great advantage derived in landscape gardening from the rich variety of large evergreens possible in the climate of Britain. The holly, unknown as an outdoor plant in this country north of Philadelphia, is at home in the north of Scotland, eighteen degrees nearer the pole. We are more fortunate with the Conifers, many of the finest of which family are perfectly hardy here. But we miss the deodar cedar, the redwood and Washingtonia of California, and the cedar of Lebanon. These, unless perhaps the last, cannot be depended on much north of the latitude of the Magnolia grandiflora. They thrive all over England, with others almost as beautiful, and as delicate north of the Delaware. Of the laurel tribe, also hardy in England, our Northern States have but a few weakly representatives. So with the Rhododendra.

When, tired of even so charming a scene of arboreal luxury, we knock at the Flower-Pot gate to the left of the palace, and are admitted into the private garden, we make the acquaintance of another stately stranger we have had the honor at home of meeting only under glass. This is the great vine, ninety years or a hundred old, of the Black Hamburg variety. It does not cover as much space as the Carolina Scuppernong—the native variety that so surprised and delighted Raleigh's Roanoke Island settlers in 1585—often does. But its bunches, sometimes two or three thousand in number, are much larger than the Scuppernong's little clumps of two or three. They weigh something like a pound each, and are thought worthy of being reserved for Victoria's dessert. Her own family vine has burgeoned so broadly that three thousand pounds of grapes would not be a particularly large dish for a Christmas dinner for the united Guelphs.

We must not forget the Labyrinth, "a mighty maze, but not without a plan," that has bewildered generations of young and old children since the time of its creator, William of Orange. It is a feature of the Dutch style of landscape gardening imprinted by him upon the Hampton grounds. He failed to impress a like stamp upon that chaos of queer, shapeless and contradictory means to beneficent ends, the British constitution.

Hampton Court, notwithstanding the naming of the third quadrangle the Fountain Court, and the prominence given to a fountain in the design of the principal grounds, is not rich in waterworks. Nature has done a good deal for it in that way, the Thames embracing it on two sides and the lowness of the flat site placing water within easy reach everywhere. This superabundance of the element did not content the magnificent Wolsey. He was a man of great ideas, and to secure a head for his jets he sought an elevated spring at Combe Wood, more than two miles distant. To bring this supply he laid altogether not less than eight miles of leaden pipe weighing twenty-four pounds to the foot, and passing under the bed of the Thames. Reduced to our currency of to-day, these conduits must have cost nearly half a million of dollars. They do their work yet, the gnawing tooth of old Edax rerum not having penetrated far below the surface of the earth. Better hydraulic results would now be attained at a considerably reduced cost by a steam-engine and stand-pipe. At the beginning of the sixteenth century this motor was not even in embryo, unless we accept the story of Blasco de Garay's steamer that manoeuvred under the eye of Charles V. as fruitlessly as Fitch's and Fulton's before Napoleon. Coal, its dusky pabulum, was also practically a stranger on the upper Thames. The ancient fire-dogs that were wont to bear blazing billets hold their places in the older part of the palace.

Crossing the Kingston road, which runs across the peninsula and skirts the northern boundary of Hampton Park, we get into its continuation, Bushy Park. This is larger than the chief enclosure, but less pretentious. We cease to be oppressed by the palace and its excess of the artificial. The great avenues of horse-chestnut, five in number, and running parallel with a length of rather more than a mile and an aggregate breadth of nearly two hundred yards, are formal enough in design, but the mass of foliage gives them the effect of a wood. They lead nowhere in particular, and are flanked by glades and copses in which the genuinely rural prevails. Cottages gleam through the trees. The lowing of kine, the tinkling of the sheep-bell, the gabble of poultry, lead you away from thoughts of prince and city. Deer domesticated here since long before the introduction of the turkey or the guinea-hen bear themselves with as quiet ease and freedom from fear as though they were the lords of the manor and held the black-letter title-deeds for the delicious stretch of sward over which they troop. Less stately, but scarce more shy, indigenes are the hares, lineal descendants of those which gave sport to Oliver Cromwell. When that grim Puritan succeeded to the lordship of the saintly cardinal, he was fain, when the Dutch, Scotch and Irish indulged him with a brief chance to doff his buff coat, to take relaxation in coursing. We loiter by the margin of the ponds he dug in the hare-warren, and which were presented as nuisances by the grand jury in 1662. The complaint was that by turning the water of the "New River" into them the said Oliver had made the road from Hampton Wick boggy and unsafe. Another misdemeanor of the deceased was at the same time and in like manner denounced. This was the stopping up of the pathway through the warren. The palings were abated, and the path is open to all nineteenth-century comers, as it probably will be to those of the twentieth, this being a land of precedent, averse to change. We may stride triumphantly across the location of the Cromwellian barricades, and not the less so, perhaps, for certain other barricades which he helped to erect in the path of privilege.

Directing our steps to the left, or westward, we again reach the river at the town of Hampton. It is possessed of pretty water-views, but of little else of note except the memory and the house of Garrick. Hither the great actor, after positively his last night on the stage, retired, and settled the long contest for his favor between the Muses of Tragedy and Comedy by inexorably turning his back on both. He did not cease to be the delight of polished society, thanks to his geniality and to literary and conversational powers capable of making him the intimate of Johnson and Reynolds. More fortunate in his temperament and temper than his modern successor, Macready, he never fretted that his profession made him a vagabond by act of Parliament, or that his adoption of it in place of the law had prevented his becoming, by virtue of the same formal and supreme stamp, the equal of the Sampson Brasses plentiful in his day as in ours among their betters of that honorable vocation. His self-respect was of tougher if not sounder grain. "Worth makes the man, and want of it the fellow," was the motto supplied him by his friend and neighbor, Pope, but obeyed long before he saw it in the poetic form.

Garrick's house is separated from its bit of "grounds," which run down to the water's edge, by the highway. It communicates with them by a tunnel, suggested by Johnson. It was not a very novel suggestion, but the excavation deserves notice as probably the one engineering achievement of old Ursus major. We may fancy the Titan of the pen and the tea-table, in his snuffy habit as he lived and as photographed by Boswell, Mrs. Thrale, Fanny Burney, and their epitomizer Macaulay, diving under the turnpike and emerging among the osiers and water-rats to offer his orisons at the shrine of Shakespeare. For, in the fashion of the day, Garrick erected a little brick "temple," and placed therein a statue of the man it was the study of his life to interpret. The temple is there yet. The statue, a fine one by Roubillac, now adorns the hall of the British Museum, a much better place for it. Garrick, and not Shakespeare, is the genius loci.

This is but one, if the most striking, of a long row of villas that overlook the river, each with its comfortable-looking and rotund trees and trim plat in front, with sometimes a summer-house snuggling down to the ripples. These riverside colonies, thrown out so rapidly by the metropolis, have no colonial look. We cannot associate the idea of a new settlement with rich turf, graveled walks and large trees devoid of the gaunt and forlorn look suggestive of their fellows' having been hewn away from their side. The houses have some of the pertness, rawness and obtrusiveness of youth, but it is not the youth of the backwoods.

Bob and sinker are in their glory hereabouts. Fishing-rods in the season and good weather form an established part of the scenery. From the banks of the stream, from the islands and from box-like boats called punts in the middle of the water, their slender arches project. It becomes a source of speculation how the breed of fish is kept up. Seth Green has never operated on the Thames. Were he to take it under his wing, a sum in the single rule of three points to the conclusion that all London would take its seat under these willows and extract ample sustenance from the invisible herds. If perch and dace can hold their own against the existing pressure and escape extinction, how would they multiply with the fostering aid of the spawning-box! We are not deep in the mysteries of the angle, but we believe English waters do not boast the catfish. They ought to acquire him. He is almost as hard to extirpate as the perch, would be quite at home in these sluggish pools under the lily-pads, and would harmonize admirably with the eel in the pies and other gross preparations which delight the British palate. He hath, moreover, a John Bull-like air in his broad and burly shape, his smooth and unscaly superficies and the noli-me-tangere character of his dorsal fin. Pity he was unknown to Izaak Walton!

At this particular point the piscatory effect is intensified by the dam just above Hampton Bridge. Two parts of a river are especially fine for fishing. One is the part above the dam, and the other the part below. These two divisions may be said, indeed, in a large sense to cover all the Thames. Moulsey Lock, while favorable to fish and fishermen, is unfavorable to dry land. Yet there is said to be no malaria. Hampton Court has proved a wholesome residence to every occupant save its founder.

The angler's capital is Thames Ditton, and his capitol the Swan Inn. Ditton is, like many other pretty English villages, little and old. It is mentioned in Domesday Boke as belonging to the bishop of Bayeux in Normandy, famous for the historic piece of tapestry. Wadard, a gentleman with a Saxon name, held it of him, probably for the quit—rent of an annual eel-pie, although the consideration is not stated. The clergy were, by reason of their frequent meagre days and seasons, great consumers of fish. The phosphorescent character of that diet may have contributed, if we accept certain modern theories of animal chemistry as connected in some as yet unexplained way with psychology, to the intellectual predominance of that class of the population in the Middle Ages. That occasional fasting, whether voluntary and systematic as in the cloisters, or involuntary and altogether the reverse of systematic in Grub street, helps to clear the wits, with or without the aid of phosphorus, is a fixed fact. The stomach is apt to be a stumbling-block to the brain. We are not prone to associate prolonged and productive mental effort with a fair round belly with fat capon lined. It was not the jolly clerics we read of in song, but the lean ascetic brethren who were numerous enough to balance them, that garnered for us the treasures of ancient literature and kept the mind of Christendom alive, if only in a state of suspended animation. It was something that they prevented the mace of chivalry from utterly braining humankind.

The Thames is hereabouts joined from the south by a somewhat exceptional style of river, characterized by Milton as "the sullen Mole, that runneth underneath," and by Pope, in dutiful imitation, as "the sullen Mole that hides his diving flood." Both poets play on the word. In our judgment, Milton's line is the better, since moles do not dive and have no flood—two false figures in one line from the precise and finical Pope! Thomson contributes the epithet of "silent," which will do well enough as far as it goes, though devoid even of the average force of Jamie. But, as we have intimated, it is a queer river. Pouring into the Thames by several mouths that deviate over quite a delta, its channel two or three miles above is destitute in dry seasons of water. Its current disappears under an elevation called White Hill, and does not come again to light for almost two miles, resembling therein several streams in the United States, notably Lost River in North-eastern Virginia, which has a subterranean course of the same character and about the same length, but has not yet found its Milton or Pope, far superior as it is to its English cousin in natural beauty.

For this defect art and association amply atone. On the southern side of the Mole, not far from the underground portion of its course—"the Swallow" as it is called—stand the charming and storied seats of Esher and Claremont.

Esher was an ancient residence of the bishops of Winchester. Wolsey made it for a time his retreat after being ousted from Hampton Court. A retreat it was to him in every sense. He dismissed his servants and all state, and cultivated the deepest despondency. His inexorable master, however, looked down on him, from his ravished towers hard by, unmoved, and, as the sequel in a few years proved, unsatisfied in his greed. Gardiner, bishop of Winchester, was called upon for a contribution. He loyally surrendered to the king the whole estate of Esher, a splendid mansion with all appurtenances and a park a mile in diameter. Henry annexed Esher to Hampton Court, and continued his research for new subjects of spoliation. His daughter Mary gave Esher back to the see of Winchester. Elizabeth bought it and bestowed it on Lord Howard of Effingham, who well earned it by his services against the Armada. Of the families who subsequently owned the place, the Pelhams are the most noted. Now it has passed from their hands. That which has alone been preserved of the palace of Wolsey is an embattled gatehouse that looks into the sluggish Mole, and joins it mayhap in musing over "the days that we have seen."

Claremont, its next neighbor, unites, with equal or greater charms of landscape, in preaching the old story of the decadence of the great. Lord Clive, the Indian conqueror and speculator, built the house from the designs of Capability Browne at a cost of over a hundred thousand pounds. His dwelling and his monument remain to represent Clive. After him, two or three occupants removed, came Leopold of Belgium, with his bride, the Princess Charlotte, pet and hope of the British nation. Their stay was more transient still—a year only, when death dissipated their dream and cleared the way to the throne for Victoria. Leopold continued to hold the property, and it became a generation later the asylum of Louis Philippe. To an ordinary mind the miseries of any one condemned to make this lovely spot his home are not apt to present themselves as the acme of despair. A sensation of relief and lulling repose would be more reasonably expected, especially after so stormy a career as that of Louis. The change from restless and capricious Paris to dewy shades and luxurious halls in the heart of changeless and impregnable England ought, on common principles, to have promoted the content and prolonged the life of the old king. Possibly it did, but if so, the French had not many months' escape from a second Orleans regency, for the exile's experience of Claremont was brief. We may wander over his lawns, and reshape to ourselves his reveries. Then we may forget the man who lost an empire as we look up at the cenotaph of him who conquered one. Both brought grist to Miller Bull, the fortunate and practical-minded owner of such vast water-privileges. His water-power seems proof against all floods, while the corn of all nations must come to his door. Standing under these drooping elms, by this lazy stream, we hear none of the clatter of the great mill, and we cease to dream of affixing a period to its noiseless and effective work.