Kensington Palace, the birthplace of the Queen being an historical guide to the state rooms, pictures and gardens — Inside the Classic

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Law, Ernest, 1854-1930 Project Gutenberg 2013 Not confirmed
Victoria, Queen of Great Britain, 1819-1901; Kensington Palace (London, England) -- Guidebooks Readers of public-domain and historical texts
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Edition facts

Words 41,395
Reading time 180 min
Text sections 6

Kensington Palace, the birthplace of the Queen being an historical guide to the state rooms, pictures and gardens — Inside the Classic can be approached with a clearer sense of reading commitment from its source measurements: 41,395 words, 3 hr estimated reading time, and 6 detected text sections.

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Ernest Law's 1899 guide to Kensington Palace blends architectural history, royal biography, and detailed catalog entries for paintings, using the state rooms and gardens as a lens on the Stuart and Hanoverian courts.
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se were his last articulate words. "Bentinck instantly came to the bedside, bent down, and placed his ear close to the King's mouth. The lips of the dying man moved, but nothing could be heard. The King took the hand of his earliest friend and pressed it tenderly to his heart. In that moment, no doubt, all that had cast a slight passing cloud over their long pure friendship was forgotten. It was now between seven and eight in the morning. He closed his eyes, and gasped for breath. The bishops knelt down and read the commendatory prayer. When it ended William was no more. When his remains were laid out, it was found that he wore next to his skin a small piece of black silk ribbon. The lords in waiting ordered it to be taken off. It contained a gold ring and a lock of the hair of Mary."

=Queen Anne at Kensington Palace.=

Fond as William and Mary had been of Kensington, Queen Anne was even more attached to it still;--and it became her usual residence whenever it was necessary for her to be near the great offices of state. She seems to have remained satisfied with the palace as it had been finished by her predecessors, except for the addition of one or two small rooms "in the little court behind the gallery," perhaps because King William bequeathed to her a debt of upwards of £4,000 for his buildings at Kensington.

She devoted, however, a great deal of care and expense to the improving and enlarging of the Palace gardens--as to which we shall have more to say when we come to describe them. Queen Anne, indeed, was, in this respect, thoroughly English. She loved her plants and flowers, and would spend hours pottering about her gardens at Kensington. The appearance of her gardens will best be seen from our reduced facsimile of Kip's large engraving, published about 1714 in his "Britannia Illustrata." In the right distance is seen that most beautiful building called the "Orangery" or green-house, erected by her orders--which we shall fully describe on a subsequent page.

Besides enlarging the gardens round about the Palace, Queen Anne greatly extended the area of the park-like enclosed grounds attached to Kensington Palace. Mr. Loftie has declared that "neither Queen Anne nor Queen Caroline took an acre from Hyde Park." But this we have found not to be the fact. In an old report on the "State of the Royal Gardens and Plantations at Ladyday, 1713," among the Treasury Papers in the Record Office, there is a distinct reference to "The Paddock joyning to the Gardens, _taken from Hyde Park in 1705_, and stocked with fine deer and antelopes;" and again in another document, dated May 26th in the same year, being a memorial to the Lord High Treasurer from Henry Portman, Ranger of Hyde Park, it is stated that "near 100 acres had been enclosed from the park of Kensington, whereby the profits he had by herbage were much reduced." Later on, in George II.'s reign, in 1729, we find a grant of £200 made to William, Earl of Essex, Ranger of Hyde Park, "in consideration of loss of herbage of that part of the said park which is laid into his Majesty's gardens at Kensington."

=Death of Prince George of Denmark.=

It was at Kensington Palace that Anne's husband, Prince George of Denmark, at length succumbed, in 1708, to a prolonged illness of gout and asthma. During his last sickness and death, Anne had the "consolation" of the Duchess of Marlborough's "sympathy." Her Grace's deportment, according to an eye-witness, "while the Prince was actually dying, was of such a nature that the Queen, then in the height of her grief, was not able to bear it." She actually forced her way, as Mistress of the Robes, to the poor Prince's deathbed, and only drew into the background when peremptorily ordered by the heart-broken wife to leave the room. After Prince George had breathed his last, she stepped forward again, and when all the others had left, insisted on remaining with poor Anne, who was "weeping and _clapping_ her hands together, and swaying herself backwards and forwards" in an agony of grief. The Queen was at length induced to accede to the Duchess's advice to leave "_that dismal body_" and remove to St. James's.

Two years later, in these very same state rooms of Kensington Palace took place the famous final interview between the Queen and her whilom favourite, also subsequently noticed in our description of "Queen Anne's Private Dining Room."

=Death of Queen Anne.=

Ernest Law's 1899 guide to Kensington Palace opens with a miniature portrait of Queen Victoria at age eight, then a painting of her at four, immediately grounding the book in the palace's identity as the Queen's birthplace. The preface and historical sketch trace the building's evolution from a Jacobean mansion through William and Mary's expansions, Queen Anne's occupancy, and the Georgian kings, culminating in Victoria's early years. Law's method is evident from the start: he interleaves architectural description with royal biography, treating the palace as a stage for court life.

The Guide's Dual Structure

The book is divided into two main parts: a historical sketch and a descriptive guide. The sketch moves chronologically from Kensington's early history through the reigns of William and Mary, Anne, George I, George II, and into Victoria's childhood. The guide then takes a room-by-room approach, describing the state rooms, pictures, and gardens. This structure allows Law to first establish a narrative of royal occupation, then invite the reader to walk through the palace, matching rooms to events. The transition between these sections is marked by a plan of the state rooms, a practical tool for the visitor.

Portraits as Historical Evidence

Law's catalog entries for paintings are mini-essays. For example, the portrait of James Stuart, the Old Pretender, is described with physical details—'heavy, sodden appearance' and 'weak dejected look'—and supported by quotations from an adherent and from Gray the poet. Law does not simply list the painting; he uses it to discuss character and historical reputation. Similarly, the entry for 'Frederick, Prince of Wales, at a Party' notes the uncertainty of the subject, citing old inventories that suggest a marriage fête. These entries show Law treating the pictures as documents of court life, not mere decorations.

The Orangery and Gardens as Royal Spaces

Queen Anne's Orangery receives detailed treatment: its exterior, interior, alcoves, and restoration are each given subsections. Law describes the building's architecture and its setting within Kensington Gardens, noting Queen Caroline's later improvements. The gardens are presented as extensions of the palace, designed for royal leisure and display. The guide includes a plate of 'Kensington Palace and Gardens in the Reign of Queen Anne,' reinforcing the idea that the landscape was as much a part of the court's identity as the state rooms. Law's attention to the orangery's restoration reflects the late-Victorian interest in preserving historic interiors.

Victoria's Childhood and the Palace's Legacy

The historical sketch devotes several pages to Queen Victoria's early years at Kensington, including her birth in 1819, her childhood under the Duchess of Kent, and her accession in 1837. Law includes plates of the Duchess of Kent with Princess Victoria and the Princess in 1825, emphasizing the palace as a site of royal formation. The guide's final sections on 'Associations with Queen Victoria' and 'Restoration of the State Rooms' tie the building's preservation to its most famous resident. Law presents the palace as a living monument, not a static museum.

Reading the Catalog Entries

The catalog entries for paintings are the most detailed part of the guide. Each entry includes the artist, dimensions, provenance, and a description of the subject. Law often adds historical context, such as the note that the portrait of James Stuart was bequeathed to George III by Cardinal York. He also includes critical judgments, like the observation that the Pretender's countenance had a 'heavy, sodden appearance.' These entries reward careful reading; they are not mere lists but miniature histories of the people and events depicted.

Law's guide is best read as a layered text: the historical sketch provides narrative, the room-by-room guide offers orientation, and the catalog entries supply depth. Readers interested in royal biography may focus on the Victoria sections, while those drawn to art history will find the painting descriptions rich with detail. The book's 1899 publication date places it at a moment when Kensington Palace was being opened to the public, and Law's tone balances scholarly precision with the practical needs of a visitor.

Reading Ernest Law’s guide, I remembered standing in the Queen’s gallery as a child, imagining the clip of hooves below. It felt like peeking through a keyhole into a frozen afternoon. That same hush came back with Early Carriages and Roads — Background and Themes, where the dust and ruts felt just as close as the polished floors here.

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