At an installation, the Knights of the garter dine here in great state in the absence of the Sovereign.
XVIII. You next enter St. George’s chamber, which is particularly set apart to the honour of the most illustrious order of the garter, and is perhaps one of the noblest rooms in Europe, both with regard to the building and the painting, which is here performed in the most grand taste. In a large oval in the centre of the ceiling King Charles II. is represented in the habit of the order, attended by England, Scotland and Ireland; Religion and Plenty hold the crown of these kingdoms over his head; Mars and Mercury, with the emblems of war and peace stand on each side. In the same oval Regal Government is represented upheld by Religion and Eternity, with justice attended by Fortitude, Temperance and Prudence, beating down Rebellion and Faction. Towards the throne is represented in an octogon St. George’s cross incircled with the garter, within a star or glory supported by Cupids, with the motto,
and besides other embellishments relating to the order, the Muses are represented attending in full consort.
On the back of the state, or Sovereign’s throne, is a large drapery, on which is painted St. George encountering the dragon, as large as the life, and on the lower border of the drapery is inscribed,
in allusion to King William III. who is painted in the habit of the order, sitting under a royal canopy, by Sir Godfrey Kneller. To the throne is an ascent by five steps of fine marble, to which the painter has added five more, which are done with such perfection as to deceive the sight, and induce the spectator to think them equally real.
This noble room is an hundred and eight feet in length, and the whole north side is taken up with the triumph of Edward the Black Prince, after the manner of the Romans. At the upper part of the hall is Edward III. that Prince’s father, the conqueror of France and Scotland, and the founder of the order of the garter, seated on a throne, receiving the Kings of France and Scotland prisoners; the Black Prince is seated in the middle of the procession, crowned with laurel; and carried by slaves; preceded by captives, and attended by the emblems of Victory, Liberty, and other _ensignia_ of the Romans, with the banners of France and Scotland displayed. The painter has given a loose to his fancy by closing the procession with the fiction of the Countess of Salisbury, in the person of a fine lady, making garlands for the Prince, and the representation of the merry wives of Windsor.