THE TAPESTRY DRAWING ROOM,

The principal saloon of the old house, is also comparatively deserted. It is nevertheless a finely proportioned and elegantly finished apartment. The windows open to the lawn and command a beautiful view of the grounds; the Dog Kennels a very handsome building, terminating the prospect. The Walls are hung with magnificent Gobelin Tapestry, presented by Louis XV. to the third Duke of Richmond when Ambassador at the French Court. It consists of four divisions representing scenes from the adventures of Don Quixotte. These beautiful specimens of skill and ingenuity are in the most perfect preservation, and have all the appearance of highly finished paintings. The immediate subjects are surrounded by imaginary frames, beyond which are festoons of flowers, and a peacock with its tail spread surmounts. the whole. The colours are most brilliant, and the features of the numerous figures singularly expressive.

The largest, facing the windows is fourteen feet, by twelve feet, and contains ten figures, the subject is

Don Quixotte consulting the Enchanted Head.

The adventure of Mambrino's Helmet, which the Knight has just seized; the poor barber is escaping in the distance-five figures.

(9 ft. by 12 ft.)

Don Quixotte fastened to the window by Maritornesseven figures.

(9 ft. by 12 ft.)

The adventure at the Inn, with the Chambermaids. (17 ft. by 12 ft.)

Over the door is a vase of flowers also in Tapestry, of great beauty, and of equal brilliancy with the larger pieces.

The plaster cast, from the face of William Pitt, taken a few hours after his death on January 23rd. 1806, by Nollekens, is preserved here in a glass case.

The Chimney piece is an exquisitively finished work of art, the production of one of the most celebrated of English Sculptors, John Bacon. It is in white marble, and consists of two figures male and female, about five feet in height, drawing aside a drapery which unveils the fire place, and forms the upper portion of the design. It was executed for the third Duke of Richmond, from

whom the Sculptor received the sum of five hundred pounds.*

The size of the room is thirty five feet, by twenty three; the ceiling with the cornice and mouldings richly carved and gilt: the floor is covered with a magnificent

* Bacon's merits have been widely acknowledged-he felt where his strength lay, when he said his statues were his best works. He infused more good English sense into his sculpture than any preceding artist. Having little imagination, he willingly welcomed those figures which Spenser calls "dark conceits," because they came without study or meditation. His style of sculpture was, with the exception of his single statues, decidedly of that kind called the picturesque. The result of the whole is sometimes magnificent-the figures are well placed and commanding-the auxiliary symbols are scattered with profuse liberality, and the workmanship is ever neat, skilful, elaborate.

*

*

*

*

One day while he was in Westminster Abbey, he was accosted by a stranger, who said, “ That monument to Chatham, sir, is admirable upon the whole, but it has great defects." "I should feel obliged sir," said the sculptor, "if you would be so kind as to point them out to me." “That I will gladly," said the stranger-" Why here! and there and there!-don't you see? bad, very bad!" and at every word he spoke he struck the places alluded to with the iron end of his walking stick, in a manner that seemed likely to hurt the work. "But will you tell me, sir," said the sculptor, "your reasons for thinking those parts bad?" "I have already done so to Bacon himself, sir," said the critic, SO I shall not repeat them to you-I pointed out other defects too while the monument was forming, but he refused to be convinced." "What then you are personally acquainted with Bacon?" said the sculptor, not a little amazed. yes, sir," replied the other, "I have been intimate with him for years; a clever man, sir, but obstinate." "Were Bacon here now," said the artist, turning away," he would not like to hear a friend of such old standing speaking of his work so roughly."

66

many

ALLAN CUNNINGHAM.

carpet of British manufacture to match the Tapestry.

The sofas and chairs, which are carved and gilt, are covered with white satin, richly embossed in various colors. Four looking glasses of very large dimensions occupy different parts of the room. Adjoining is

THE STATE BED ROOM

Enjoying the same delightful prospect and embellished in a similar manner to the Drawing Room. The Tapestry is in four compartments, each nine feet by eleven. feet, six inches, and represents the Seasons. The bedstead is a very gorgeous piece of furniture; the draperies are composed of crimson velvet and satin, with the arms of the family embroidered in gold, The apartment is replete with every comfort and elegance. Three pictures adorn the walls

210. Portrait of the second Duchess of Richmond.

(7 ft. 4 in. by 4 ft. 6 in.)

SIR G. KNEller.

Represented in robes of state and wearing a coronet.

The Dressing Room attached to the State Chamber is a neat and elegantly furnished apartment, with two windows looking on the Gardens: with the exception of the following paintings however, there is nothing in its appearance which requires particular notice.

213. View in Rome; the ruins of the Coliseum

H. VAN LINT.

(2 ft. by 1 ft. 4 in.)

214. View in Rome; the ruins of the temple of Anto

A well painted and striking picture: in a rich undress, the right arm resting on a crimson cushion, with blue drapery. The attitude is elegant and unconstrained. The features full and voluptuous, and the draperies disposed with much ease and taste.

217. A flock piece, with the inscription "Cathelouze a dieppe."

218. 219. Noon and Evening, a pair. C. POELEmburg. (10 in. by 7 in.)