created on a sandy heath in Guelders a paradise, which attracted multitudes of the curious from Holland and Westphalia. Mary had laid the first stone of the house. Bentinck had superintended the digging of the fishponds. There were cascades and grottoes, a spacious orangery, and an aviary which furnished Hondekoeter with numerous specimens of manycoloured plumage. [61] The King, in his splendid banishment, pined for this favourite seat, and found some consolation in creating another Loo on the banks of the Thames. Soon a wide extent of ground was laid out in formal walks and parterres. Much idle ingenuity was employed in forming that intricate labyrinth of verdure which has puzzled and amused five generations of holiday visitors from London. Limes thirty years old were transplanted from neighbouring woods to shade the alleys. Artificial fountains spouted among the flower beds. A new court, not designed with the purest taste, but stately, spacious, and commodious, rose under the direction of Wren. The wainscots were adorned with the rich and delicate carvings of Gibbons. The staircases were in a blaze with the glaring frescoes of Verrio. In every corner of the mansion appeared a profusion of gewgaws, not yet familiar to English eyes. Mary had acquired at the Hague a taste for the porcelain of China, and amused herself by forming at Hampton a vast collection of hideous images, and of vases on which houses, trees, bridges, and mandarins were depicted in outrageous defiance of all the laws of perspective. The fashion, a frivolous and inelegant fashion it must be owned, which was thus set by the amiable Queen, spread fast and wide. In a few years almost every great house in the kingdom contained a museum of these grotesque baubles. Even statesmen and generals were not ashamed to be renowned as judges of teapots and dragons; and satirists long continued to repeat that a fine lady valued her mottled green pottery quite as much as she valued her monkey, and much more than she valued her husband. [62] But the new palace was embellished with works of art of a very different kind. A gallery was erected for the cartoons of Raphael. Those great pictures, then and still the finest on our side of the Alps, had been preserved by Cromwell from the fate which befell most of the other masterpieces in the collection of Charles the First, but had been suffered to lie during many years nailed up in deal boxes. They were now brought forth from obscurity to be contemplated by artists with admiration and despair. The expense of the works at Hampton was a subject of bitter complaint to many Tories, who had very gently blamed the boundless profusion with which Charles the Second had built and rebuilt, furnished and refurnished, the dwelling of the Duchess of Portsmouth. [63] The expense, however, was not the chief cause of the discontent which William's change of residence excited. There was no longer a Court at Westminster. Whitehall, once the daily resort of the