Through the farther end of the Drawing Room is the Queen's Presence Chamber, with another magnificent canopied bed, and beyond it, the Queen's Guard Room, giving on to the stairs. These last two rooms look out on to the Fountain Court, of which they form the northern side, but they do not exhaust the rooms open to public inspection; for along the eastern side of the Court is a series of smaller rooms, containing further pictures and furnishings. Owing to the smallness of these rooms, their darkness, and the fact that visitors can only pass straight through them from door to door, close inspection of the pictures is not easy. Along the whole length of the southern side of the Fountain Court is the King's Gallery or Great Council Chamber--a magnificent room in which used to hang the Raphael Cartoons now at South Kensington. The room was, indeed, designed by Sir Christopher Wren as a setting for those famous pictures; and the walls are now covered by reproductions of them in tapestry. On the west side of the Court is the Communication Gallery leading to the Queen's Great Staircase, and it is worthy of note that from the last of the State Rooms the visitor should carry away impressions of one of the most splendid of Hampton Court's many splendid art treasures. Along the wall here are the nine large tempera pictures by Mantegna--"one of the chief heroes in the advance of painting in Italy"--in which are represented "The Triumph of Cæsar". Says Mr. William Michael Rossetti, "these superbly invented and designed compositions, gorgeous with all splendour of subject-matter and accessory, and with the classical learning and enthusiasm of one of the master spirits of the age, have always been accounted of the first rank among Mantegna's works". Though in part restored, these paintings, by an artist who died more than four hundred years ago, are full of interest for their vivid presentation of a rich imagination of a great historical event. In front of the victor--in the last of this series of paintings--is borne a device bearing his famous words "Veni, Vidi, Vici"--and it is worthy of recollection that one tradition places the scene of Julius Cæsar's final victory over the Britons at Kingston, not far from where this splendid delineation of his triumphal pageant on his return to Rome has hung for close upon three centuries. Though it is a fine final memory to bring away from the rooms, it is perhaps to be regretted that this series of paintings is in the last of the galleries through which we pass; for, as I have learned from various visitors--after going through more than a couple of dozen rooms and galleries, housing about a thousand pictures, and tapestries besides other articles of interest--the eye has become wearied and the mind overcharged with an embarrassment of riches. Several people have told me that they have come through these last galleries scarce noticing what was on the walls at all. It is a pity that the rule of having to