Alexander the Great. They were bought by Cadogan, but it is not clear whether they were made at Brussels or at the Gobelin factory. They are a contrast to the older work, but they have a certain richness and decorative effect, and are certainly extremely fine examples of the eighteenth century tapestries, and admirably in keeping with their surroundings.
Of other work of needle and loom the Palace still contains several specimens, all worthy of minute inspection, such as the canopy that stood over the throne of William III., the bed of Queen Anne,—a beautiful composition of silk velvet elaborately worked in orange and crimson on a white ground,—and the bed of Queen Charlotte,—a charming specimen of the work of Mrs. Pawsey, a lady who started a school of needlework at Aylesbury, and was employed by the Queen. Her work in this case, lilac satin with wreaths of flowers in crewels touched up with silk, is extraordinarily delicate, and in the best style of Louis Seize.
Other furniture, chairs of William III.'s day, the very pattern of those the illustrator of the collected edition of Pope (1751) drew the ladies sitting on when they take coffee in the "Rape of the Lock," settees, cabinets, andirons, firebacks, all of great interest, still remain in the Palace, but over these we may not linger.
The great feature of the art collections is of course the pictures. These have been so long neglected that they seem especially to demand an attentive consideration.
