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Visitors are asked to note that the positions of pictures, furniture, etc., are changed from time to time.

WINDSOR

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ST. GEORGE’S GATE

THE STATE APARTMENTS

The State Apartments are open daily from 10.30 a.m: on weekdays and from 1.30 p.m. on Sundays (when British Summer Time is in force) except when The Queen is in Offi- cial Residence, that is usually during the month of April, and for periods during March, May, June, Decem- ber and 1 January. They are closed on Sundays during the winter when Greenwich Mean Time is in force.

QUEEN MaRY's DOLLS’ HOUSE and EXHIBITION OF DRAWINGS

Queen Mary's Dolls’ House and the Exhibition. of Drawings are open daily from 10.30 a.m. on weekdays and from 1.30 p.m. on Sundays from May to October, except on 1 Janu- ary, Good Friday, 25, 26, 27 December and the day in June on which the Garter Service is held in St. George’s Chapel. They are closed on Sundays from November to April.

CASTLE PRECINCTS

lhe Precincts of the Castle remain

open throughout the year (including

Sundays) from 10 a.m. to 4.15 p.m. (later 1n the summer). mM

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The Henry VIII Gateway, the main gateway to Windsor Castle, which is sited near the lowest extremity of the castle, at the opposite end from the Royal Apartments.

ABOVE: An aerial view of Windsor Castle from the south-west.

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Military Knights, a foundation in- stituted by King Edward III in connection with the Order of the Garter (see page 31), and providing lodgings for retired army officers who have served with distinction. Clothed in a scarlet uniform conferred on them by King William IV in the 19th century, they attend Morning Service in St. George’s Chapel on Sundays, and play an important part in the ceremonial of the chapel on royal occasions.

The square tower in the centre of the range, Mary Tudor Tower, which was built as a belfry in the 14th century, and bears the arms of Mary Tudor and her husband, King Philip II of Spain, is the residence of their Governor. The next house downhill

TOUR OF THE CASTLE

(The figures after the main features relate to the map on the inside cover )

international centre for conferences. The stone building on the left is the Chapter Library, erected in the 15th century as a hall for clergy. The timber-framed building on the right, also built in the 15th century, is the residence of the Organist and Master of the Choristers. All these buildings are closed to the public, but the terrace beside the Chapter Library affords a fine view of the river and of Eton beyond it.

To enter St. George’s Chapel go back through the Horseshoe Cloister into the Lower Ward, and up the hill to the South Porch. Further up the hill a passage way between St. George’s Chapel and the Albert Memorial Chapel (8) leads to the Dean’s Cloister and beyond it to the Canons’ Cloister, both of the 14th century. The wall of the Dean’s Cloister which flanks the Albert Memorial Chapel retains the arcading of an earlier chapel built on the same site in the 13th century. Cut into the stone bench at the foot of this wall are sets of nine holes for playing a game like noughts and crosses called nine men’s morris. At the far end of this cloister on the left is a vaulted porch, which originally formed its main entrance, containing fine 14th-century carving. The Canons’

` Cloister contains houses erected for

the Canons of the College of St. George in the 14th century, and still inhabited by them today.

The Albert Memorial Chapel, which is open to visitors without charge, was constructed by King Henry VII on the site of the earlier chapel while work was still in progress on St. George's Chapel. He intended it as a shrine for the remains of King Henry VI, and for his own tomb, but it was not used for either purpose. Many years later Queen Victoria converted it into a memorial for her husband, the Prince Consort, who died in 1861. Later she placed within it the tombs of her youngest son Prince Leopold, Duke of Albany, and of her grandson Albert-Victor, Duke of Clarence, who would have come to the throne in place of King George V if he had not died young.

On the other side of the Lower Ward stand the residences of the

The main entrance is a gateway (1) built by King Henry VIII in 1509, when the castle was already more than 400 years old. Over the archway is a carving of the King’s arms, together with a Tudor rose, and a pomegranate, badge of his first queen, Catherine of Aragon. These badges are repeated, with others, on the battlements above. Three holes running through the vault of the arch enabled defenders to pour molten metal or boiling oil on anyone attempting to force an entrance.

The gateway leads into the Lower Ward of the castle. St. George’s Chapel stands on the other side of the ward, and on the left lies the Parade Ground, where the changing of the guard takes place in winter. Between them is a small gateway leading to the Horseshoe Cloister (5), a row of houses originally built by King Edward IV in the 15th century for the lesser clergy, and now housing the men singers of the choir and the sacristans. The cloister owes its present appearance to a restoration by Giles Gilbert Scott in the 19th century.

Beyond the far corner of the cloister lies the Curfew Tower (4), which is open to visitors at certain times during the year in the late morning and afternoon (not on Sundays or Mondays). Built in the early 13th century as part of the last section of the outer wall to be com- pleted, it contains a fine example of a medieval dungeon in the basement as well as one end of a secret under- ground exit to the castle, or “sally port", of which the far end is blocked. The upper storey contains the eight bells of St. George's Chapel. These are chimed every three hours through a mechanism actuated by a clock dating from the 17th century, playing the hymn tune “St. David's", followed by a peal known as “The King's Change", and repeating the sequence twice. The conical roof was added in the 19th century.

Another gateway at the far side of the cloister leads to an area known as Denton's Commons, which contains residences of clergy and others con- nected with St. George's Chapel, together with St. George's House, an

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The Grand Vestibule (above) 1s the first of the State Apartments shown to visitors. It contains a fine collection of arms and relics from the Napoleonic and other wars.

The Grand Staircase ۰ The Grand Vestibule

beneath it was made for Henry VIII at Greenwich in about 1540. A sword inlaid with gold depicting the siege of Boulogne, made for Henry VIII by Diego de Cayas, is displayed below.

The Grand Staircase (facing page) was built by Salvin for Queen Victoria in 1866. The statue of King George IV in the centre is by Sir Francis Chan- try, while the burly suit of armour

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The fretwork which lines the upper walls was added when the room was restored by Queen Victoria and the Prince Consort in 1861.

Lawrence’s dramatic portrait of King George IV, who died while Wyatville’s work was in progress, hangs beside those of two other sovereigns: his father, King George III, who was alive, though an invalid, at the time of Waterloo, and his

large collection of paintings, he in- structed Wyatville to find space for a suitable gallery as part of the exten- sive reconstruction of Windsor Castle begun in 1824. The architect’s solu- tion was to roof in an open courtyard in the centre of the State Apartments. The result of his labours is seen here, with the remarkable clerestory spe- cially designed to give adequate lighting to the portraits.

The Waterloo Chamber

This impressive banqueting chamber is the outcome of a grandiose scheme conceived by King George IV to commemorate the allied victory over Napoleon at Waterloo.

As a first step, the King commis- sioned Sir Thomas Lawrence to paint a series of portraits of all the monarchs, statesmen and warriors who had played a part in the Emperor’s defeat. Next, in order to accommodate this

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The huge carpet, reputed to be the largest seamless carpet in Europe, was made for Queen Victoria at Agra in India.

Many of the woodcarvings, which were moved from other parts of the State Apartments during Wyatville’s alterations, are by Grinling Gibbons. The immense table is Jaid for the Waterloo Banquet, held each year on 18 June, the date of the battle.

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(left), which hangs above the doorway

opposite the entrance. The Duke wears the uniform of a Field Marshal, with the Order of the Garter, and holds the Sword of State, which he had carried at a thanksgiving service held in St. Paul’s Cathedral (shown in the background) the year before. Beside the Sword lies a Field Mar-

shal’s baton, with a letter signed “George P.R.”

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brother and successor, King William IV (by Wilkie), in whose reign it was completed.

The portraits of the Archduke Charles, Count Capo d’Istria, Metter- nich, Pope Pius VII and Cardinal Consalvi are considered to be among Lawrence’s finest works.

The series is dominated by the magnificent portrait of the victor of Waterloo, the Duke of Wellington

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are all by French sculptors. Two are of marshals in the armies of Louis XIV, Condé and Turenne, one is of Louis XIII's minister Cardinal Riche- lieu, and the fourth, of King Charles I, is a copy of an original by Le Sueur. On the right near the exit is a model, cast in 1776, of a statue of Louis XV by J. B. II Lemoyne which was in- tended for Rouen but was never

erected. Above the

fireplaces stand two pieces of chinoiserie, one a barometer and the other a clock, from the

pavilion which King George IV erected in Brighton after the Chinese taste. The vast green malachite vase in front of the window, which com- mands a fine view over the Thames and Eton College, was a gift to Queen Victoria from Nicholas I of Russia.

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The Garter Throne Room ۰ The Grand Reception Room

James Gunn. The ۳75 around it are by Grinling Gibbons. The Grand Reception Room (right) was created by Wyatville for King George IV as a place of assembly for guests before a function in the Water- loo Chamber next door. Decorated in the style of Louis XV, it is hung with Gobelins tapestries made in the late 18th century and bought in Paris for King George IV in 1825. Their design is based on paintings by Jean Francois de Troy depicting the story of Jason and the Golden Fleece. The hand- some gilt plasterwork on the surround- ing walls includes clusters of musical instruments over the doors, and groups of cherubs making music and dancing. The chairs and settees are covered with 18th-century French tapestry from Beauvais, and the bronze busts

The Garter Throne Room (above) is a ceremonial room constructed for King George IV by Wyatville in one of the oldest parts of the castle, where royal apartments had already stood for Over six centuries. Before its construc- tion the part beyond the arch formed a separate room and was furnished with a throne, on which King Charles II gave audience. Today the Knights of the Garter assemble here annually in June in the presence of the Sovereign to conduct their business, which includes the investiture of new Knights. Set into the walls are full- length protraits of sovereigns in their Garter robes from King George I (by Kneller) to Queen Victoria and the Prince Consort (by Winterhalter).

Over the fireplace hangs the State Portrait of Queen Elizabeth II by

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The Queen’s Presence

Chamber

The ceilings in this room (left), the following room, and the King’s Dining Room are the work of Antonio Verrio, an Italian artist engaged by King Charles II. Those in the first two rooms, which belonged to the apartments of his Queen, Catherine of Braganza, portray her in allegorical scenes. Here she is seen surrounded by virtues, while below her the sword of Justice banishes vices such as Sedition and Envy. Most of the other rooms in the State Apartments were similarly decorated by Verrio: but all save these three lost their ceilings during later restorations, the plaster- work having decayed beyond repair.

The marble fireplace, brought here from Buckingham Palace by King William IV, was designed by Robert Adam, and carved by J. Bacon in 1789. The portrait above it, by Maynard, depicts Elizabeth, Duchess of Orleans, a niece of Prince Rupert of the Rhine, with her children. The fine woodcarvings which surround this and the other two pictures are by Grinling Gibbons and his associates.

The two busts on the right of the picture portray marshals of Louis XIV's armies, Vauban and Villars. At the other end of the room (not seen in the illustration) is a bust of Handel, whose music was often played at concerts given in this room by King George III.

The magnificent tapestries in this and the following room were woven at the Gobelins factory in France in the 1780s. Based on paintings by Jean Francois de Troy (1679-1752) they depict the story of Esther, the Jewish queen of Ahasuerus, King of the Persians, who saved her compatriots

from the massacre ordered by her husband.

The Queen's 6 Chamber

(Illustrated on page 16)

Here, seated on a throne, Queen Catherine received visitors in audi- ence, after they had been ushered in from the Presence Chamber next door. On the ceiling Verrio has de- picted her being drawn in a chariot by swans to the temple of virtue.

The painting above the exit door is of William II, Prince of Orange, father of King William III. The woodcarvings which surround it and the other two pictures are once more by Grinling Gibbons and his associates.

15

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The Queen’s Ball Room

Known for over a hundred years as the Van Dyck Room, this room re- sumed its earlier title of “The Queen's Ball Room" when the paintings by Van Dyck which used to hang there were moved to the room beyond. It was for Queen Catherine of Braganza that it served as a ball room: but it owes its present appearance to King

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pictures from the 18th century which . The portrait of John Hayes St. is a charming study of the princesses is in process of rearrangement. The Leger (1765-1800) by Sir Thomas at play. Princesses Sophia and Amelia illustration shows four Canalettos Gainsborough (above left) was sitin a small carriage; Princess Mary, surrounding the fireplace, and beyond commissioned by the Prince of surrounded by frisking spaniels, them portraits by the American Wales, later King George IV, in shakes a tambourine. Windsor Castle artist Benjamin West of King George 1782. Colonel St. Leger was a isvisiblein the distance.

III and Queen Charlotte (see details companion of the Prince of Wales and lhe two silver tables, each with on left). The King's portrait was wasappointedtohis Householdinl784, looking glass to match, were gifts painted to commemorate the active The Three Youngest Daughters of from the City of London to King part which he played during the George III by another American artist, Charles II (that on the right) and to threat of invasion from France in 1779. John Singleton Copley (see page 21), King William III (that on the left.)

19

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The Queen’s Drawing Room (see page 20)

This and the next three rooms of the State Apartments also owe their pre- sent appearance to King George IV, whose architect Wyatville converted them into a suite for royal visitors when the King moved his personal apartments to the other side of the castle. When first constructed by King Charles II, this room had served Queen Catherine as her “‘withdrawing room", or private sitting room, into which she withdrew either from the Audience Chamber beyond the Ball Room, or from the King's Dining Room, which lies beyond the doors to the right of the entrance. After con- version it formed a drawing room in the new suite for visitors.

Opposite the fireplace hangs Van Dyck's celebrated painting of King Charles I’s five eldest children, which originally hung above the table in that king's Breakfast Chamber at White- hall Palace. The group comprises two future kings—Charles, Prince of Wales and James, Duke of York—and their sisters Mary, Elizabeth and Anne.

The King’s Closet

This room (left) served King Charles II as a private sitting room. After Wyatville’s reconstruction it was used as a bedroom in the suite for royal guests. The pictures include several by Canaletto from the collec- tion of Consul Smith acquired by King George III in 1762, including one of the Campo SS Giovanni e Paolo (below left). Above it hangs a portrait of Lord Melbourne as a boy by Hoppner. Other portraits by English artists include one of the actor Garrick by Reynolds.

The King’s Dressing Room

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This room (below right) originally served King Charles I as a small private bedroom. It was later reduced in size to make space for a bathroom beyond, and converted by Wyatville into a dressing room in the suite for royal visitors. The pictures, which are subject to frequent rearrangement, include a remarkable series of portraits by various artists including Holbein, j m Dürer, Rembrandt and Rubens, as ۱۱ ۱۱ PM well as the famous triple portrait of p qus] King Charles I by Van Dyck (illus- : trated above). This was commissioned

to enable Bernini to carve a bust of the L King without making the journey from um | Rome to London. The painting was

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The King’s State Bed Chamber

Originally King Charles II’s State Bed Chamber (left), this room was remodelled by Wyatville to serve as a bedroom in the suite for royal visitors. The bed was made by G. Jacob in the reign of Louis XVI. Its hangings bear the monograms of the Emperor Napoleon III and the Empress Eugénie, who visited Windsor in 1855. Over the fireplace is A View of the Old Library and Church of Santa Maria della Salute in Venice by Canaletto.

The King’s Drawing Room

Most of the pictures in this room (above) are by Rubens. On either side of the fireplace are two superb land- scapes, Winter and Summer; above is the Holy Family; at the end of the room is The Gerbier Family, in which the central group only is by Rubens. Opposite the fireplace hangs St. Martin Dividing his Cloak (right), painted by Van Dyck in the studio of Rubens, whose assistant he was before his first visit to England.

25

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THE QUEEN’S GALLERY BUCKINGHAM PALACE

Exhibitions of treasures from the Royal Collections of pictures and works of art can always be seen in The Queen’s Gallery (entrance in Buckingham Palace Road). The Gallery 18 open to the public from Tuesday to Sunday (11 to 5 weekdays, Sundays 2 to 5). A small admission charge is made.

The King’s Dining Room

The King’s Dining Room (facing page) is the last of the three rooms on the public route through the State Apartments which still retain a ceiling painted by Verrio and woodcarvings by Grinling Gibbons.

Though substantially altered in subsequent reigns this room still breathes the spirit of the baroque palace erected for King Charles II by Hugh May in the latter part of the seventeenth century.

The theme of Verrio’s painting, completed in 1678, is a banquet of the gods, who are seen at table, served with nectar by Ganymede. Eagle and Peacock below mark the presence of Zeus, King of the Gods, and his con- sort Hera, while bow, arrows, and wings denote Eros, God of Love. The syrinx of Pan provides popular music, while Apollo draws more serious strains, not from his usual lyre, but from a viola da gamba. Provisions for the banquet are shown on the cornice below.

Provisions are also the theme of the masterly woodcarvings of Grinling Gibbons—perhaps his most inspired work—which represent fruit, flowers, fish, shellfish and game.

In King Charles’s day the principal meals of the Sovereign were taken in this room. They were conducted with much ceremony, and privileged mem- bers of the public were frequently admitted as spectators. The room was known in consequence as “The King’s Public Dining Room".

The picture over the fireplace, by Huysmans, portrays Queen Catherine of Braganza, consort of King Charles II, as a shepherdess. A terra-cotta bust of the King by an anonymous sculptor stands on the right, by the edge of the alcove through which the visitor enters. Near it hangs a portrait of a Christian Chinese (known as 6 Chinese Convert") painted by Kneller for King James II and originally hung in the King’s Presence Chamber near- by (now the Garter Throne Room). Kneller is said to have regarded this picture as his finest work.

The two tapestries which hang one each side of the fireplace bear the arms of William and Mary.

A pair of bellows beneath the win-

dow to the right of the exit is believed

to have belonged to Nell Gwynn.

Originally the windows of the King’s Dining Room admitted plenty of light. The subsequent construction of a Staircase 1n Brick Court, over which the windows looked, so darkened the room that neither the ceiling nor the woodcarvings can be properly seen without artificial light.

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capital was chosen as the site, and on it they built a typical Norman castle: The Normans had evolved a system of defences far stronger than anything known to the Anglo-Saxons. Its novelty consisted in the use of two defensive structures, one inside the other. The inner structure was formed by a mound of earth, crowned by wooden defences and encircled by a ditch. Outside it lay a wide area, surrounded in its turn by an earthen wall furnished with wooden defences and an encircling ditch, which gave protection to non-combatants and their animals. This area was normally

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THE STORY OF THE CASTLE

London was secured by two of these, built on the edge of the city (one has survived as the Tower of London). To command the surround- ing area they erected a further nine, each twenty miles distant both from the centre and from its neighbours, so that reinforcements could reach any unit in the system within a single day.

The area policed by the western- most castle in the chain was of particular strategic importance as it was traversed by the Thames, then the main freight route into the interior. An isolated escarpment overlooking the river at the right distance from the

THE FORTRESS

Windsor Castle has been the home of kings and queens for nearly nine cen- turies, and is by far the oldest royal residence still in use.

It was originally built not as a residence but as a fortress. When William the Conqueror had overrun the greater part of England he dis- persed his forces throughout the country to form an army of occupation. Having lost the protection of num- bers they maintained their control over a hostile population by construc-

ting and garrisoning a chain of strong- holds.

28

had been banished from the royal apartments with the construction of King Charles II’s baroque palace, but gradually reintroduced a century later in a modest programme of repair ` and restoration by King George III. The external additions of King George IV included an extra storey on the Round ‘Tower, several completely new towers, and a profusion of elaborate machicolations on old and new alike. It 18 to these accretions that the distant view of the castle owes its dramatic air of romantic medievalism.

So successful was the design of this great reconstruction and so sound the workmanship that little alteration has been needed since. The basic structure

of the palace left to his successors by

King George IV is much the same as that used by Queen Elizabeth II today.

THE CHAPELS

The earliest chapel of which any trace remains was built by King Henry III. Not only did this king, as we have seen, erect a new range of domestic apartments in the Upper Ward, but he also greatly enlarged the ceremonial

quarters erected by King Henry II in

the Lower Ward, building a new chapel in the process. This chapel was still standing when King Edward III founded the Order of the Garter in the following century, and it was devoted to the service of the new Order. By this time the adjoining domestic buildings had been destroyed by fire, and King Edward used their site for new buildings to accommodate the clergy needed for the Order and its associated religious foundation. These buildings largely survive to the present day, and are lived in by the Dean and Canons.

The next century saw the con- struction in the valley below of the much more spectacular chapel of Eton College, founded by King Henry VI. This king was deposed by King Edward IV, who was probably also responsible for his death. Meanwhile the modest chapel in the castle had fallen into disrepair. The new king decided to outdo his fallen rival, and in 1475 began the construction of the present chapel of St. George. It was not until fifty years later, in the reign of King Henry VIII, that this master- piece of late Gothic architecture was completed. It replaced its predecessor as the chapel of the Order of the Garter, and still forms the setting for the splendid annual service of the

31

the Scots and French with the foundation in 1348 of England's premier Order of Chivalry, the Order of the Garter.

The choice of so intimate a garment for the badge of the new Order is said to have arisen from an incident at a ball held to celebrate the capture of Calais. A garter worn by Joan, Countess of Salisbury, a celebrated beauty who may have been the King’s mistress and later married his son, the Black Prince, fell to the ground. The King picked it up, and some of his courtiers smiled at what they took to be an amorous gesture. This led the King to utter the celebrated words “Honi soit qui mal y pense” (“Shame on him who thinks ill of it") adding that they would soon see that garter advanced to so high an honour that they would be happy to wear it themselves. ۱

To provide a worthy setting for the gatherings of the Knights Companion of the new Order King Edward demolished the residence of King Henry III and erected a new and more spacious range of apartments which included the original St. George’s Hall, and stood for as long as three centuries. These apartments were still standing when King Charles I spent his last Christmas in captivity at the castle in 1648, shortly before his execution. By the standards of the day they too had now 6 irredeemably old-fashioned and un- comfortable, and after the Restoration his son, King Charles II, com-

missioned the architect Hugh May to

replace them with a new palace in the fashionable baroque style. The basic structure of this building survives in the present State. Apartments, and three of its rooms still retain much of their original decoration.

After another century and a half standards of comfort had once more changed, and a monarch came to the throne whose visions of grandeur eclipsed those of any of his pre- decessors. This was King George IV, whose architect Wyatville carried out the castle's last and greatest recon- struction. Rather than destroy King Charles’s elegant apartments King George had the smaller rooms con- verted into a wing to house visiting royal families, and built new private apartments for himself on the other two sides of the Upper Ward. The larger rooms were remodelled for ceremonial use. All the new work was dominated by the Gothic style, which

was reached between the King and his brother.

The second siege was a more serious matter. Soon after John, now king, had set his seal to Magna Carta he persuaded the Pope to annul the document. The barons who had exacted the agreement from him rebelled, and sought help from the King of France, whose son they aimed to put on the English throne. In the process they attacked the castle and over a period of three months did serious damage to its walls, only raising the siege when their forces were needed elsewhere. With the death of the King and the succession of his 10-year-old son King Henry III the rebellion lost its impetus, and the siege was not resumed.

COMPLETION OF THE WALLS The damage was repaired during the new king’s minority, and soon after- wards the lowest section of the outer wall was completed. The towers constructed at this time can be distinguished from those built for the King’s grandfather by their circular outline. Military experience in the interval, particularly during the Crusades in Asia Minor, had shown that a structure without corners was not only less easy to knock down, but also offered the defenders a wider field of fire.

With the completion of the castle’s defences subsequent alterations were mainly confined to domestic accom- modation and chapels.

LATER RESIDENCES On the domestic side no less than four fundamental reconstructions were yet to come. The first, by King Henry III after his marriage, was the last word in luxury for the age, but vanished almost without trace a century later in the far grander reconstruction of King Edward III.

This king, who was born at Windsor, celebrated his victories over

FACING PAGE (above): A view of the State Apartments from the Quandrangle. The statue of King Charles II was pre- sented in 1679 by Tobias Rustat, a “page of the backstairs".

FACING PAGE (below): The castle guard is mounted daily, in the Quadrangle when the court 15 in residence, at other times on the Parade ground.

when the original trees were felled Owing to disease. It forms the principal processional way into the castle, and is the scene of colourful ceremonial whenever The Queen entertains a visitor of State.

THE CASTLE TODAY

Of the three official residences of the Sovereign two are in the capital cities of London (Buckingham Palace) and Edinburgh (Holyroodhouse), while Windsor Castle alone is in the country. Much used by The Queen and her family at weekends, it is close enough to London to be convenient for official business, and Her Majesty is normally in residence for the whole of April, as well as for a week in June at the time of the Royal Meeting at Ascot Race Course. There is also a large family gathering in the castle at Christmas.

Once a year in June the Knights Companion of the Order of the Garter assemble here in the presence of their Sovereign, and after a banquet in the Waterloo Chamber walk in procession, clothed in the robes of the Order, down the length of the castle to St. George’s Chapel for their annual service.

SBN 85372 235 8

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ABOVE: The South front from the Home Park.

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Chapel. The burial took place in silence as the Parliamentary author- ities would not allow the use of the funeral service prescribed in the Book of Common Prayer, and the location of the tomb remained unknown for over a century and a half.

THE LONG WALK These sad memories were effaced after

the restoration of King Charles II by the demolition of the medieval .

apartments of King Edward III. To create a worthy setting for the baroque palace with which he replaced them the King laid out an avenue three miles long leading into the centre of the Great Park to the south. He could not bring this avenue right up to the castle as several houses in the town stood in the way. A century and a half later King George IV had these buildings removed, brought the avenue up to the castle walls, and added a new gateway at its end leading directly into the Quadrangle. The avenue was replanted in 1942,

All the photographs in this book are the copyright of Her Majesty The Queen

Sovereign and Knights Companion of the Order.

Meanwhile the earlier chapel had been reconstructed by King Henry VII for use as a Lady Chapel and a tomb-house. It was never used for either purpose (though a royal vault was later excavated below it for King George III and his family). It was eventually remodelled by Queen Victoria as a memorial to her husband, the Prince Consort, who died at Windsor in 1861 at the early age of 42, and whom she survived by nearly 40 years.

THE CIVIL WAR AND THE INTERREGNUM St. George’s Chapel had been com- pleted for more than a century when the Civil War broke out in 1642. King Charles I made no attempt to defend the castle, which fell into the hands of the Parliamentary forces at an early stage. They treated the chapel with scant respect, seizing the plate, ejecting the Dean and Canons, and stabling their horses in the nave. The castle became a gaol for Royalists. After King Charles’s execution in 1649 his body was brought back to the castle and buried in St. George’s

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