The outer frame of deal wood surrounding this gilt one is, on the other hand, of a later date, evidently designed by Kent, as was also the decorated panel above it, itself surmounted by a pediment, richly carved, doubtless by men trained in the school of Wren and Gibbons. In the centre of this fine "Kentian" panel is a medallion picture of the "Virgin and Child," painted in fresco, of the school of Raphael, and inscribed behind with the date, 1583. All this over-mantel was, in the time of George I., painted over white with enrichments of gold. It so remained until last winter, when the thick coats of filthy paint were cleaned off. It has been thought best to leave the deal wood in its natural state, unpainted, only applying a little stain to tone it into harmony with the colour of the surrounding oak carvings. Although this carved over-mantel is an addition, and as far as the pediment is concerned, very out of place so close to the cornice, yet it is very beautiful and of much interest as being one of the finest examples of decorative design executed in England during the reigns of the first two Georges. In it we trace the influence of the lighter French taste of Louis XV., which Kent had no doubt become acquainted with when travelling abroad. The marble chimney-piece below, on the other hand, is in that architect's regular massive, heavy style. * * * * * Almost at once, after this gallery was finished by Wren, it became the receptacle of some of the finest works of art in the Royal collection. Among the manuscripts in the British Museum is the original list of William III.'s pictures, placed "in Kensington House, 1697"--some seventy pieces being mentioned as then hanging on its walls. It was in the year following that Peter the Great was in England; when, besides his private interview with the King, mentioned above, he was a spectator at a ball given in this same gallery on the birthday of Princess Anne, not publicly, however, but peeping through one of the doors, in a closet prepared for him on purpose. In this room, King William, in the month of March, 1702, after his accident, and a few days before his death, "took several turns" to exercise himself; but soon becoming fatigued, he reclined upon a couch and fell asleep, "but soon to awake in a shivering fit, which was the beginning of a fever, attended with serious symptoms, from which he never recovered." Painting of the Ceiling and Wainscot of the King's Gallery.