Read the book: «Florizel's Folly», page 16

CHAPTER XIX

The books by Nash and Brayley on the Pavilion – Description and history of the building – Its exterior – Entrance hall – Red Drawing-room

HE left behind him a more abiding monument of his 'folly' than the building itself in a magnificent folio volume of etchings, plain and coloured, a task which he entrusted to Nash, the architect, who employed the artistic assistance of Wilks, Moore, and the elder Pugin, especially the latter, and it took five years (1820 to 1825) to complete.

I have reserved the description of this building until the end of my book, because it ended only with the King's life. The Lord alone knows what it might have become had he lived longer! And I transcribe the best description, that of E. W. Brayley,¹⁰¹ who in the spring of 1836 made a careful survey of the Pavilion, which had but very slightly been altered since the death of George IV.

'THE ROYAL PALACE AT BRIGHTON,

'FORMERLY THE PAVILION

'This Edifice, which, in respect to architectural form, has no parallel in Europe, nor perhaps on the globe, is indebted for its origin to his late Majesty George the Fourth, who, when Prince of Wales, first went to Brighton in the autumn of the year 1782 (?), on a visit to his uncle the late Duke of Cumberland, then residing at his house, near the south end of the Steyne, and not far from the cliff. The consequences of that visit have been extraordinary.

*****

'The greatly increased and still augmenting prosperity of this town, however, is almost wholly due to the patronage which it received from the late Prince of Wales, who, whilst the guest of his uncle, as above noticed, became so pleased with the situation and air, and the bold, open, and diversified character of the downs and neighbouring country, that he, again, visited Brighton in the following summer, and in the next year (1784) the Prince commenced the erection of the Marine Pavilion, now the Royal Palace, for the purpose of forming a distinct and appropriate habitation for himself and suite.

'The éclat attending the residence of such an illustrious person as the Heir apparent to the Crown, attracted a great resort of company to Brighton, and numerous respectable mansions and rows of houses were quickly built for the accommodation and entertainment of those continually flocking thither. The impulse thus given cannot be said to have yet ceased; and, though the town has been so greatly extended, that it already covers full six times as much ground as when it first engaged the notice of the Prince of Wales, scarcely a year passes without a considerable augmentation, both in the number of its inhabitants, and of its buildings. A still further increase is also contemplated, to which the projected Railway from the metropolis (that occasioned so much controversial enquiry during the sitting of Parliament in 1837) is expected essentially to contribute, by the superior accommodation it will afford for speedy intercourse. Having, thus, briefly adverted to the vast change in the state of Brighton, which has resulted from princely patronage and abode, we shall proceed to the immediate object of this work, viz., the description of the Palace itself.

'The Marine Pavilion, as it was originally called, was commenced in 1784, under the superintendence of the late Henry Holland Esqre, architect, whose professional talents were, afterwards, so eminently displayed by the magnificent Drury Lane Theatre, which was destroyed by fire in February, 1809. In its first state, the Pavilion, as completed by Mr. Holland in 1787, consisted of a circular edifice, attached by semicircular projections to two adjoining buildings, forming wings. The central part (which was crowned by a dome, or cupola, and fronted by an Ionic colonnade and entablature, supporting statues), and the north wing, were new erections, but the south wing was merely altered from the villa which had been first hired for the occasional residence of the Prince of Wales, and was, subsequently, purchased by his Royal Highness. In succeeding years, and, particularly, in 1801 and 1802, additional buildings were raised by the same architect, or, rather, by his pupil, Mr. F. P. Robinson, F.S.A., who was stationed at the Pavilion, and, during Mr. Holland's absence on some mining affairs in Cornwall, had the special direction of the works in progress.

'Whilst the improvements were going on, in the year 1802, several pieces of very beautiful Chinese paper were presented to the Prince, who, for a time, was undecided in what way to make use of them. As the Eating room and the Library, which were between the Saloon and the new Northern wing, were no longer required for their original purposes, Mr. Robinson, on being consulted, advised the Prince to have the partition removed, and the interior formed into a Chinese gallery. This was immediately agreed to; the walls were hung with the paper described, and the other parts of the Gallery were painted and decorated in a corresponding style. About the same time, the passage room between what was, then, called the Small Drawing Room, and the New Conservatory, or Music room, at the south end of the Pavilion, was constructed in a singular manner. A space was enclosed within it, measuring twelve feet by eight, the sides and upper part of which were entirely formed of stained glass, of an oriental character, and exhibiting the peculiar insects, fruits, flowers, etc., of China. It was illuminated from without; and through it, as through an immense Chinese lantern, the communication was carried on; its effect is stated to have been extremely beautiful. Such, then, were the circumstances under which the Eastern style of decoration was first adopted at the Pavilion; and, soon afterwards, between the years 1803 and 1805, the same principle was extended to its architecture; the new Stables, which were then erected by Mr. William Porden, being considered as designed in the Hindû style.

'Although the Pavilion itself had been much enlarged, and had, recently, undergone extensive alterations, the Prince had still further changes in contemplation; and, in 1805, he issued his commands to Mr. H. Repton (who was much celebrated for his judicious practice in landscape gardening, and had already been employed in improving the grounds at Brighton), to deliver his opinion "concerning what style of architecture would be most suitable for the Pavilion." The result was made known to the Prince early in the ensuing year; and, in the spring of 1808, was communicated to the public in a folio work of much interest, which includes a series of coloured plates of proposed improvements, both in the House and Grounds. Though Mr. Repton's designs in respect to the Pavilion were never carried into effect, the arguments which he employed for giving it an Eastern character, had, doubtless, considerable influence over its present form; a short extract from his work will, therefore, be admissible.

'Mr. Repton ingenuously owns that his knowledge of the various forms of Hindû architecture was derived from communications first made to him by the proprietor of Sesincot, in Gloucestershire (Sir Charles Cockerell, who had been long resident in the interior of India); and, afterwards, corroborated by the accurate sketches and drawings made on the spot by his ingenious friend, Mr. Thomas Daniell. He then says, "Immediately after I had reconciled my mind to the adoption of this new style at Sesincot, I received the Prince's commands to visit Brighton, and there saw, in some degree, realised, the new forms which I had admired in the drawings. I found, in the Gardens of the Pavilion, a stupendous and magnificent building, which, by its lightness, its elegance, its boldness of construction, and the symmetry of its proportions, does credit both to the genius of the Artist, and the good taste of his Royal employer. Although the outline of the Dome resembles rather a Turkish Mosque than the buildings of Hindûstan, yet, its general character is distinct from either Grecian or Gothic, and must both please and surprise every one not bigoted to the forms of either.

'"When, therefore, I was commanded to deliver my opinion concerning the style of architecture best adapted to the additions and Garden front for the Pavilion, I could not hesitate in agreeing that neither the Grecian, nor the Gothic style could be made to assimilate with what had so much the character of an Eastern building. I considered all the different styles of different countries, from a conviction of the danger of attempting to invent anything entirely new. The Turkish was objectionable, as being a corruption of the Grecian; the Moorish, as a bad model of the Gothic; the Egyptian, as too cumbrous for the character of a Villa; the Chinese, too light and trifling for the outside; however it may be applied to the interior; and specimens from Ava were still more trifling and extravagant. Thus, if any known style were to be adopted, no alternative remained, but to combine from the architecture of Hindûstan such forms as might be rendered applicable to the purpose."

'Acting on this principle, Mr. Repton produced the series of drawings which have been referred to; and it is but just to add, that his designs for the Pavilion evince a clearness of conception, and a boldness and accuracy of outline, and combination of forms in the Hindû style, which far surpass the anomalous conceptions that determined the external character of the present edifice.

'The Plan of Brighton, published in 1809, shews that the Pavilion was still in a state of progressive enlargement. Several neighbouring houses had been previously bought, and annexed to the premises, and the whole assumed, in a great measure, the form and arrangement represented by the Ground Plan in Plate I., in which state it remained until the late John Nash, Esqre, architect, commenced his alterations in the year 1817. Those alterations were carried on during a considerable time, under the direct surveillance of the Prince himself, whose own facility of invention, and correctness of taste, tended greatly to increase the elegance of the interior. Numerous additions were also made to the buildings, until, at length, about the year 1824, the edifice was completed in the manner in which it now appears. Instead of the plain and humble character of a Marine abode, it assumes, in its external architecture, the varied characteristics of an Oriental style, and domes, and cones, and minarets spring from its roofs to a considerable altitude.

'In the general design of this unique edifice, much fancy is exhibited, and great ingenuity and professional skill are displayed in the construction of its domes and conical cupolas; yet there is little in the composition, exteriorly, that would elicit praise from an admirer of classic elegance. There is, however, ornament in profusion, and this, in combination with the singular aspect of the entire fabric, makes a considerable impression on the eye, and especially so, if the spectator be unacquainted with the details of classic architecture; this effect would, doubtless, be stronger, if the Pavilion stood upon elevated ground. With the exception of the minarets, pinnacles, and minor ornaments, which are of Bath stone, nearly the whole building is of brick, stuccoed.

'The expense of completing and furnishing this building was very great; and, independently of many lavish sums issued for those purposes from the Civil List, upwards of £100,000 was paid from the Privy purse of its magnificent founder in aid of the charges for furniture and decorations. On the accession of the Prince Regent to the Crown, after the decease of his father, in January, 1820, the Pavilion became a Royal Palace; and, on his own decease, in 1830, it descended, together with the succession, to his brother, the Duke of Clarence, the late King William the Fourth. It, afterwards, became a favourite residence of this sovereign (and his now dowager, Queen Adelaide), who passed some portion of every year there until his death in June, 1837. During a few weeks in the past autumn, the Palace was inhabited by his successor, Victoria, her present Majesty; Whom God preserve!

'EXTERIOR OF THE PALACE

'The Ground-plot forms a long parallelogram; the extent of the building from north to south being 480 feet, and from east to west, about 125 feet: of this space, upwards of two thirds is occupied by the Royal apartments and their appendages; and the remainder by the great kitchen, chapel, servants' rooms, and domestic offices.

'Since the Pavilion was first built, it has been greatly and progressively enlarged, as above detailed, and, together with the adjoining grounds and stabling, it now occupies an extensive plot of ground, nearly in the centre of the town, and immediately contiguous to the far famed Steyne and Parade. The whole of the demesne comprises ten acres, the principal part of which was obtained by purchase, and the rest by grant from the manorial owners and town's people.

'The principal, or eastern front of the Palace, opens on to a lawn, which is merely separated from the Steyne Parade by a low wall and dwarf enclosure, at the distance, from the building, of 170 feet. On the north side are shrubberies; and, on the west, which includes the main entrance, are the pleasure grounds and carriage drive. The southern extremity, comprehending the Chapel Royal and offices, projects into Castle Square.

'From this Plate, it would seem that this front might be described as consisting of seven parts; namely, a centre, of a curvilinear form, connected by adjoining divisions to two wings, and those again flanked by square buildings, forming returns to the north and south: yet this is not strictly the case, the southern return never having been completed. In all other respects the Elevation is correct.

'The Centre division which includes the Rotunda, or Saloon, and has a semicircular arcade in front, is crowned by a vast dome, presenting the appearance of an inverted balloon, tapering upwards into a lofty pinnacle, the point of which is more than one hundred feet from the ground. The dome is surrounded by a horizontal band of twenty eight conjoined ovals (crossing a similar number of vertical ribs), most of which are pierced as windows to the several small apartments contained in its concavity. It is also flanked by two octagonal minarets, and appears to rise from a basement cone, faced with scale work. Smaller domes, of a more compressed form, surmount the semicircular recesses which adjoin the Saloon; these have ornamental bands and vertical ribs, but no windows. The arcade spandrils are filled up with curvilinear trellis work, inclosing quatrefoils; and, over the middle part, is the Prince of Wales's crest, and this inscription:

'"H.R.H. George. P.W

A.D. MDCCCXI."

'Similar domes to those last described, surmount the Green and Yellow Drawing Rooms (as they are now called), which connect the Saloon with the wings, and are each curved at the ends. The upper chambers recede, and before each range is a balcony and pierced parapet. The wings, which are of a square form, are surmounted by lofty cones, rising to the height of about ninety feet; at the angles are minarets. In front of both wings is an open arcade, composed of seven arches, separated from each other by octagonal columns, and ornamented by similar trellis work to that of the Saloon arcade. The Southern extremity terminates in a square tower crowned by a dome, and minarets corresponding with those already described. A sort of running battlement, with very narrow embrasures, surmounts the upper line of the whole building.

'The West Front of this edifice is shewn in all its variety of detail. In its general character it corresponds with the Steyne front, but there are many differences in the minor ornaments. The Perspective View (drawn from a North West point) exhibits this front in nearly its entire length; the octagon tower in the distance is that which encloses the water reservoir.

'The principal entrance to the palace is constituted by a Porch and Vestibule, which open from the drive on the western side of the building. The Porch, which forms a square of about twenty two feet, is supported at each angle by three oriental columns, and crowned by a small dome in the general style of those already described. Over the cornice is the following inscription, recording the date when the alterations at the Pavilion were commenced by Mr. Holland:

'"H.R.H. George. P.W

A.D. MDCCLXXXIV."

'The Porch leads directly to the Vestibule, which is of an octagonal form, and about twenty feet in diameter. It is surmounted by a tented roof, neatly decorated, and a Chinese lantern is suspended from the centre.

'The Entrance Hall forms a square of twenty six feet, exclusive of an angular recess which slopes to the Vestibule. The recess has a tented roof, supported by two columns in the oriental style, and pierced by a horizontal sky light, illumined, in parts by tinted glass; there are also two side windows in the recess, independently of its glazed doors. The square of the Hall is surmounted by an ornamental cornice, supporting the ceiling, which resembles an azure sky, diversified by fleecy clouds. On the entrance side, below the cornice, is neatly painted a long range of dragonish forms and other devices; and four globular lamps, similarly embellished, are suspended from the angles of the ceiling. The walls are of a delicate pale green, relieved by circular and vertical compartments, in which dragons and serpents are depicted in subdued colouring. The chimney piece is of white marble, neatly executed.

'The Red Drawing Room, which is chiefly used as a Breakfast Room, adjoins the Entrance Hall on the south side; its length is about thirty feet, and its breadth twenty two feet, independently of a considerable recess towards the north. The timbers which cross the ceiling are sustained by reeded columns in imitation of bamboo. A number of small Chinese pictures, mostly of a bluish tone, exhibiting domestic or family scenes, ornament the walls, which are painted in resemblance of the crimson japan.'

CHAPTER XX

The Chinese Gallery – The Music Room – The Yellow Drawing-room – The Saloon – The Green Drawing-room

'THE Chinese Gallery which ranges immediately behind the Saloon and its communicating apartments, is 162 feet in length, and 17 feet wide. This space is partially separated into five divisions, of unequal extent and elevation, by trellis work in imitation of bamboo.

'The central division is surrounded by a Chinese Canopy of similar trellis work, hung with bells, and surmounted by a coved ornamental ceiling, which projects through the upper floor, and is illumined by a horizontal light of stained glass, measuring twenty two feet in length, and eleven feet in width. On this light is represented Lin-Shin, the god of thunder, surrounded by his drums, and flying, as described in the mythology of China. His right hand wields a mace, or sceptre, "wherewith to strike the drums, and arouse the thunder"; and, with his left, he apparently upholds an elegant glass lamp, ornamentally tinted and enriched by clusters of brilliant drops. Other sections of the light exhibit the Imperial five clawed dragon, amidst fancy borderings of different hues. Vertical transparencies, in a similar style, in imitative frames of bamboo, enrich the ends immediately below the ceiling, and corresponding embellishments are painted on each side.

'On the west side, beneath the canopy, and directly facing the middle entrance, is a curiously designed chimney piece worked in brass and iron to imitate bamboo; and, over it, is a looking glass of considerable magnitude. At a little distance, right and left, are two large niches, lined with yellow marble, containing cabinets; and, on them, in erect positions, are plaster casts, painted, of a male and female Chinese figure, in their proper costume. There are, also, four similar niches in the other divisions of the gallery, occupied by Indian cabinets, etc.; as well as two recesses, each containing a pagoda of six stories, wrought in porcelain. At various angles of the ceiling, in place of the Chinese standards, to which they were formerly attached, tasteful lanterns of stained glass are suspended, exhibiting, on their respective sides, mythological devices, with flowers, birds, insects and other ornaments, tinted in a very effective and striking manner.

'The walls are battened, and the canvas is painted throughout with a delicate peach blossom, as a ground colour, on which rocks, trees, shrubs, birds and other embellishments in the Chinese style are very neatly pencilled in a subdued tone of pale blue. There are three fire places, over which stand beautiful jars and vases of china and porcelain, intermingled with open tulips and lotus flowers of stained glass, inclosing branches for lights. Many large jars and other vessels and figures of China ware, are, also, distributed throughout the gallery, the furniture of which is entirely of an oriental description. All the couches and chairs, which are numerous, are of ivory, curiously figured; and, in some instances, variegated with black.

'The extreme compartments to the north and south, are occupied by double Staircases, rendered light and airy in appearance by the steps being fronted with perforated brass and iron work; the railings are of cast iron, wrought and painted to resemble bamboo. These compartments are illumined by horizontal lights of stained glass, of similar elevation and accordant adornments to that of the central division of the Gallery; the southern one exhibiting the Imperial five clawed dragon, surrounded by flying bats, and the northern one the Chinese bird of Royalty called the Fum, with other ornaments. Above the landing place, at the north end, are also three windows, each being embellished with a full sized representation, in stained glass, of a Chinese god; and corresponding imitative windows are depicted over the southern landing place. The staircases lead into an upper gallery, or corridor, which communicates with the superior bed rooms and other apartments. When the doors at the ends of the Gallery, which are fronted with looking glass, are closed, an almost magical illusion is produced, the perspective appearing interminable. The carpeting is of English manufacture, and accords, in decoration, with the other furniture. From the respective extremities of this Gallery, access is obtained to the Music Room and the Banqueting Room.

'THE MUSIC ROOM

'No verbal description, however elaborate, can convey to the mind, or imagination of the reader, an appropriate idea of the magnificence of this apartment; and even the creative delineations of the pencil, combined with all the illusions of colour, would scarcely be adequate to such an undertaking. Yet, luxuriously resplendent and costly as the adornments are, they are so intimately blended with the refinements of an elegant taste, that every thing appears in keeping, and in harmony.

'The ground plan of this apartment forms a square of forty two feet, enlarged to the north and south by rectangular recesses, ten feet in depth; thus extending the entire length to sixty two feet. The square part, at the height of twenty three feet, is surrounded by a splendid canopy, or cornice, ornamented with carved shield work, flower drops, stars, etc.; and supported, at the angles, by slender, reticulated, tree like columns, richly gilt. Immediately above this is an octagon gallery, ten feet high, formed by a series of eight elliptical arches, pierced by windows of a similar shape, and connected by intervening spandrils. The windows, which are so contrived as to be illumined from the exterior, are enriched with stained glass displaying numerous Chinese devices, and similar decorations, in green gold, surround them. A convex cove, four feet in elevation, forms the next architectural feature, and, upon that, is based a very elegant dome, or cupola (thirty feet in diameter), which is faced, throughout, with scale work, in green gold, resembling escallop shells; these ornaments, by decreasing in size as they ascend, add much to the apparent height of the room, which, at this point, is forty one feet.

'At the apex, expanding in bold relief and vivid colouring, is a vast foliated ornament, bearing a general resemblance to a sunflower, with many smaller flowers issuing from it, in all the luxuriancy of seeming cultivation. From this, apparently projected from the calyx, depends a very beautiful lustre of cut glass, designed in the pagoda style, and sustaining, by its chain work, an immense lamp in the form of the Nelumbrium, or Water-lily. The upper leaves are of white ground glass, edged with gold, and enriched with transparent devices derived from the mythology of the Chinese; the lower leaves are of a pale crimson hue. At the bottom are golden dragons, in attitudes of flight. Eight smaller lamps, but of corresponding forms and decoration, are suspended from the projecting angles of the canopy; adding greatly to the general effect when illumined for evening parties.

'On the eastern side of this room, light is admitted by five windows, the draperies of which, composed of blue and crimson satins, and yellow silks, richly fringed, are upheld by golden dragons, and supported, at the sides, by large serpents of a silvery hue. In front of the intervening piers (on elevated pedestals, manufactured by Spode) stand four pagoda towers of oriental porcelain, each of which consists of eight stories, and is fifteen feet in height; the pedestals are embellished with varied landscapes and flowers. Many other rare and valuable specimens of oriental china and jasper, in large jars, vases, etc., are included among the ornamental furniture of this room.

'On the west side is a magnificent chimney piece, of statuary marble, designed by Westmacott, and very beautifully wrought. The sweep of cornice in the centre is supported on the expanded wings of a finely sculptured dragon; and each of the jambs, which are, in fact, short, circular columns, having bases and capitals of conjoined lotus leaves, is surrounded by eight small columns of ormolu, and otherwise enriched. The stove, fender, fire irons, etc., which were manufactured by Cutler, in a superior style of workmanship to most others, are of polished steel and ormolu. Over the chimney piece is an effulgent looking glass, measuring nearly twelve feet by eight, surmounted by a tasteful and glittering canopy, supported by tree like columns of radiant gold. In front, stands a superb time piece, of curious and elaborate design; the base exhibits a rock and a palm-tree; around the latter a dragon entwines, and appears to be darting its sting at a figure behind, who wields an uplifted spear. At the top are Venus and Cupid, with the peacock of Love; and, below them, is the god Mars, who is climbing upwards, as though to view the beauties of the Paphian queen. Large and elegant China vases, with golden branches for lights, are placed on each side the time piece, together with other vessels of rich jasper.

'The walls, where not otherwise adorned, are covered with paintings, in imitation of the crimson japan. The subjects introduced are twelve in number, and consist of views in China principally taken in the neighbourhood of that "far famed, but little known, metropolis" Pekin; they are of a bright yellow colour, heightened with gold; and, in delicacy of execution, and beauty of pencilling, are scarcely to be exceeded by the best miniature paintings. Much fancy is displayed in the framework; the inner borderings being composed of a running pattern of rich foliage, and the outer ones of blue and yellow fret work, heightened with gold: at the upper corners are flying dragons.

'The recesses at the north and south ends are each canopied by a convex curve representing rows of bamboos, confined by ribands, and terminating in the square of the room; these are partly sustained by large columns of crimson and flowered gold, which are entwined by enormous serpents, depicted in all their glowing diversity of colour, and vivid expression of animal power. Similar columns, but of greater height, are ranged on the western side of this apartment. Within the northern recess, and a separate room extending behind it to the depth of twenty feet, stands a large organ, which was built by Lincoln in the year 1818, and is celebrated both for great powers, and peculiar delicacy of tone. It has three rows of keys, twenty eight stops, and twenty pedals; and its compass extends from C.C.C. with a double diapason throughout.

'There are two entrances to this apartment, one from the Chinese Gallery, and the other from the Yellow Drawing-room, each under a superb canopy of crimson and gold, ornamented with dragons and musical bells, and supported by golden columns entwined by dragons. There is no outlet on the opposite side, but the general uniformity is preserved by apparent entrances, corresponding in embellishments with those described.

'The carpet, which was manufactured in Axminster, to fit the room, is one of the largest in the kingdom, its dimensions being sixty one feet by forty, and its weight about 1,700 lbs. It is wrought with Chinese subjects in gold colour, on a light blue ground, including suns, stars, serpents, dragons, birds, insects, and other forms. The sofas and chairs, which are of yellow satin and gold, accord with the surrounding objects; the arm chairs are partially dove coloured.

'The Yellow Drawing Room, has been so much altered since it was fitted up by the Prince of Wales, that it now bears little resemblance to Pugin's drawing of it. As there delineated, the walls displayed a series of pictures in the Chinese style, intermingled with other characteristic embellishments, and numerous Chinese lanterns were suspended from flying dragons issuing from the cornice.

'This is the intervening apartment between the Saloon and the Music Room, and is the one that usually becomes the sitting room of the Royal party when residing at the Palace. Its length is fifty six feet, and its extreme breadth, to the windows, about thirty three feet. The ceiling is partly supported by two oriental columns, of white and gold, enwreathed by serpents, and branching into umbrella capitals hung with bells. The Cornice, or Canopy, which surrounds the room, is also diversified by pendent bells. The draperies, etc., are of striped satin; and the walls are panelled in white, with richly gilt borderings. The principal chairs and sofas are covered to match the drapery; and, on the back of every chair, is a small Chinese figure, seated, with a bell in each hand. There are five windows on the east side (besides two others in the semicircular returns), and, in front of each intermediate pier, is a sexagon stand of porcelain, sustaining branch lights. The chimney piece, which is of brown coloured marble, is elegantly designed; at the angles are small columns, and within a niche in each jamb is a Chinese figure. On the mantel shelf is a handsome dial, by Vulliamy, with ornamental accessories, including Chinese figures of white china, in draperies enriched with gold. Among the furniture are Buhl tables, with grotesque borderings, beautifully inlaid. On the side and end tables are many jars and vases of Asiatic and Sèvres porcelain; several of which are of a pale sea green colour, elegantly wrought with flowers, butterflies, and other forms. The doors are panelled with plate glass.