telling the petitioners that they wanted to strip Christ again, and bade them get away with their snivelling. When they besought leave to hold their prophesying meetings, he cried out violently-"Ay, is it that ye would be at? If you aim at a Scotch presbytery, let me tell you, it agrees as well with monarchy as God and the devil; then shall Jack and Tom and Will and Dick meet, and censure me and my council; therefore I reiterate my former speech-'Le roi s'avisera.' Stay, I pray you, for one seven years, before you demand, and then, if you find me grow pursy and fat, I may perchance hearken to you, for that government will keep me in health, and find me work enough." The end of it was, that he cried out-" No bishop, no king!"

Charles I. escaped from Hampton Court in 1647, only to be placed in stricter confinement in Carisbrooke Castle.

Oliver Cromwell made Hampton Court his residence, and probably was the means of arresting its sale. Dr. Hawkins tells us that he ordered the great organ, which had been forcibly taken from Magdalen College, Oxford, "to be carefully conveyed to Hampton Court, where it was placed in the great gallery; and one of his favourite amusements was to be entertained with this instrument at leisure hours.”—(Hawkins' Hist. of Music, iv. 45).

Charles II. gave the palace to the Duke of Albemarle, but afterwards redeemed it, and occupied it himself. Pepys has the following note :

"

30th June, 1662. The King and his new Queene minding their pleasures at Hampton Court. All people discontented; some that the King do not gratify them enough, and the others, fanatiques of all sorts, that the King do take away their liberty of conscience; and the height of the bishops, who I fear will ruin all again."("Pepys' Diary," vol. i. p. 297. Bohn.)

William and Mary were the founders of the modern parts.

As we pass down the body of the hall, taking care not to fall from the platform, or dais, as the uniform colour of the floor makes many do, we may look at the tapestries of Wolsey's arms placed in the centre of the minstrel gallery, and labelled "Dne (Domine) michi adjutor." Those of Henry VIII., are on either side. Some inferior modern paintings of Henry VIII., Queen Jane Seymour, Cardinal Wolsey, and Queen Elizabeth, fill the panels. Descending the stairs, after glancing at the groinings of the gateway, and again at the first court, before we turn our backs upon it, we now enter the

Second Court of Wolsey's Palace,

somewhat smaller than the former, being a quadrangle, nearly 134 feet square; the northern side is entirely occupied by the length of the hall-the west by a gateway, corresponding to that of the first court, having on its turrets the busts of Vitellius and

Tiberius. Above this gateway, in the second court, is a curious astronomical clock recently restored, and of which a description will be found a little further on. Between the busts of the Roman emperors are two cherubs, of terra-cotta, supporting the arms of Wolsey, under which is his motto "Domine mihi adjector." The eastern side of this quadrangle is marked with the date of 1732, that of its restoration, which was executed under the directions of Kent, the architect-one who had no respect for any but classical architecture. Here, thinking to improve on the original style, he has introduced some notions of his own, much less pertinent than they should be. Instead of the broad-shouldered essentially Tudor arch, an "ogee" of an earlier period has been

Archway looking West, with Entrance to the hall.

fantastically adapted; its want of harmony must strike every eye. Four other busts of Roman emperors are placed on these turrets. The colour of the bricks and the stone of certain parts of the hall resemble that of these restorations. Probably Kent removed the twenty-nine beasts which stood on the battlement and substituted the present plain machicolations. The beasts, carrying gilt vanes, which have been lately substituted for the plain carved tops of the pinnacles, are appropriate restorations. These two courts are said to have been the least splendid parts of the palace its finest portions were pulled down, to make room for the present structure of Sir Christopher Wren.

The precise extent of Wolsey's palace has not been satisfac

torily ascertained. The palace enclosed "five ample courts," writes Hentzner, in 1598; but it may be doubted whether the buildings extended much farther eastward than the present front, built by Sir Christopher Wren. The old drawings and prints in the King's Library in the British Museum, give some idea of the south and river fronts of the original palace. The existing remains of the original portion, however, sufficiently attest its greatness. So much lead was used in Wolsey's time for the palace, that it is said to have covered three acres. For the supply of water, conduit pipes were laid on from Coombe Warren, three miles on the south side of the river. Another supply was obtained by Charles I. from a branch of the Colne, but even these means, it would seem, insufficiently supplied the palace with water; at least Evelyn complained, in 1662, of the want of it in the fountains. Henry VIII., as we have seen, added very considerably to Hampton Court when he became its owner. The chapel as well as the hall was erected by him. Little remains of the chapel in its original state, beside the roof and the king's arms.

Che Astronomical Clock.

The clock over the gateway in the second quadrangle is a restoration of the original astronomical clock placed there about 1540. The old clock, after, apparently, being out of repair and unworkable for many years, was removed in 1835, and another clock by Vulliamy was put in its place. The latter originally belonged to the Queen's apartments of St. James's Palace, and was made in 1799. Vulliamy, who made it, or the house that carried on his business, then "clockmaker to the king" (William IV.), also effected the re-erection at Hampton Court in 1835. The old astronomical clock was then laid aside in an outhouse of the palace until 1879, when the Board of Works ordered its restoration and re-erection in its original position. The ancient works, however, were found to be so defective-some of the movements even being missing-that Messrs. Gillett and Bland, the firm entrusted with the restoration, had really to make a new machine to perform the old movements; hence, virtually, all that remain of the original clock are its plan and the pictorial dial over the gateway in the second court. Even in this condition, however, the relic is of great interest, and the authorities are to be thanked for its restoration. The clock as originally erected is believed to have been the first astronomical clock set up in England. An iron bar of the framework of the dial has clearly cut into it the date " 1540" and the initials "N. O." This date is, of course, taken as being the date of the construction of the clock. It is also the date of the year in

which Henry VIII. lived at Hampton Court with his Queen Catherine Howard. The name of the constructor of the clock, however, has not come down to us at all clearly. Mr. E. J. Wood, in his "Curiosities of Clocks and Watches," 1866, quotes from an authority, dating 1742, the statement that "Over the portal of the second quadrangle is a beautiful astronomical clock, the workmanship and contrivance of the late celebrated Tompion," &c.; and Grose, in his " Antiquities," vol. ii. (Middlesex), likewise gives the work to Tompion. The initials "N. O.," however, upon the bar of the clock's face have induced later writers upon the subject to suppose that Nicholas Cratzer was the artist. He is known to have been in England in Henry VIII.'s reign, and to have had for patrons both the King and Wolsey. He, moreover, made a similar clock for Christ Church. He was a German; and the fact that "N. O." instead of N. C. appear upon the clock as his initials is accounted for by the supposition that "N. O." stands for his Christian and birthplace names, after the manner pertaining to many artists and others of the time. There was a "keper of the clocke at Hampton Courte-one Vincent, the clokmaker;" and in the Privy Purse Expenses of Henry VIII., 20s. are charged as "paid to the clokmaker at Westminster for mending the cloke at Hampton Courte."

The ordinary clock face on the other side of the gateway, that is, looking down upon the first court, did not, it seems, belong to the original clock. It was added in 1649.

The dial of the astronomical clock has three discs, which combine to show, not only the hours of the day, but also the days of the month, the motion of the sun and moon, the moon's age, phases, quarters, &c., &c. The largest of the three discs is 7 ft. 10 in. in diameter. The hour hand bears the figure of the sun -the earth appearing in the dial's centre-and this hand working from behind the second disc is so made to show the day of the month and the position of the sun in the ecliptic, as well as to point out the hours of the day and night, these hours appearing in two sets of twelve figures each round the clock's face. The diameter where the hour figures are painted is 9 ft. 8 in., and the Roman figures themselves are 9 inches in length. The movement of the hands is not continuous, but by a series of jumps forward, as it were, one every quarter of a minute. The works serve both the old dial and the modern dial on the other side of the gateway. The weights are, one 8 cwt., and two 4 cwt. each. These, attached to steel-wire ropes, hang in the turret in the north-west angle of the tower, and descend a distance of 56 feet. There is a compensation pendulum of brass and iron tubes with a cast-iron bob, the whole weighing some 2 cwt. The operation of winding-up is performed weekly, and takes half-an-hour. Further particulars concerning the old clock