"If minarets, rising together, provoke
From the lips of the vulgar the old-fashioned joke—
'De gustibus non est (I think) disputandum'
The taste is plebeian that quizzes at random."

There is really something very romantic in the style of its architecture, and by no means inelegant; perhaps it is better suited for the peculiar situation of this marine palace than a more classical or accredited order would be. It has been likened, on its first appearance, to a chess-board; but, in my thinking, it more nearly resembles that soul-inspiring scene, the splendid banquet table, decorated in the best style of modern grandeur, and covered with the usual plate and glass enrichments: for instance, the central dome represents the water magnum, the towers right and left, with their pointed spires, champagne bottles, the square compartments on each side are exactly like the form of our fashionable liqueur stands, the clock tower resembles the centre ornament of a plateau, the various small spires so many enriched candelabra, the glass dome a superb dessert dish; but

"Don't expect, my dear boy, I can similies find
For a heap of similitudes so undefined.
And why should I censure tastes not my concern?
'Tis as well for the arts that all tastes have their turn."

If I had written for three hours on the subject, I could not have been more explicit; you have only to arrange the articles in the order enumerated, and you have a model of the upper part of the building before you. At nine o'clock we made our entré into the Pavilion, westward, passing through the vestibule and hall, when we entered one of the most superb apartments that art or fancy can devise, whether for richness of effect, decoration, and design: this is called the Chinese Gallery, one hundred and sixty-two feet in length by seventeen feet in breadth, and is divided into five compartments, the centre being illumined with a light of stained glass, on which is represented the God of Thunder, as described in the Chinese mythology, surrounded by the imperial five-clawed dragons, supporting pendent lanterns, ornamented with corresponding devices. The ceiling or cove is the colour of peach blossom; and a Chinese canopy is suspended round from the lower compartment with tassels, bells, &c.: the furniture and other decorations, such as cabinets, chimney-piece, trophies, and banners, which are in the gallery, are all in strict accordance with the Chinese taste; while on every side the embellishments present twisted dragons, pagodas, and mythological devices of birds, flowers, insects, statues, formed from a yellow marble; and a rich collection of Oriental china. The extreme compartments north and south are occupied by chased brass staircases, the lateral ornaments of which are serpents, and the balusters resemble bamboo. In the north division is the fum{1} or Chinese bird of royalty: this gallery opens into the music room, an apartment forty-two feet square, with two recesses of ten feet each, and rising in height forty-one feet, to a dome thirty feet in diameter. The magnificence and imposing grandeur of effect surpasses all effort at detail. It presented a scene of enchantment which brought to recollection the florid descriptions, in the Persian Tales, of the palaces of the genii: the prevailing decoration is executed in green gold, and produces a most singularly splendid effect. On the walls are twelve highly finished paintings, views in China, principally near Pekin, imitative of the crimson japan.

1 The fum is said to be found in no part of the world but
China. It is described as of most admirable beauty; and
their absence for any time from the imperial city regarded
as an omen of misfortune to the royal family. The emperor
and mandarins have the semblance of these birds embroidered
on their vestments.

The dome appears to be excavated out of a rock of solid gold, and is supported by an octagonal base, ornamented with the richest Chinese devices; at each angle of the room is a pagoda-tower, formed of the most costly materials in glass and china, with lamps attached; beneath the dome and base is a splendid canopy, supported by columns of crimson and gold, with twisted serpents of enormous size, and terrific expression surrounding them. A magnificent organ, by Sinclair, the largest and best in the kingdom, occupies the north recess, twenty feet in width, length, and height: there are two entrances to this room, one from the Egyptian gallery, and another from the yellow drawing-room, each under a rich canopy, supported by gold columns. A beautiful chimney-piece of white statuary marble, and an immense mirror, with splendid draperies of blue, red, and yellow satin, rare china jars, and ornaments in ormolu, increase the dazzling brilliancy of the apartment. As this was my first appearance in the palace, the Countess, very considerately, proposed to Sir H——T——, who conducted us, that we should walk through the other public apartments, before we were ushered into the presence chamber—a proposition the good-natured equerry very readily complied with. Repassing, therefore, the whole length of the Chinese gallery, the southern extremity communicates with the Royal Banqueting Room, sixty feet in length, by forty-two in breadth: the walls are bounded at the height of twenty-three feet by a cornice, apparently inlaid with pearls and gold, from which spring four ecliptic arches, supported by golden columns, surmounted with a dome, rising to a height of forty-five feet, and constructed to represent an eastern sky; beneath which is seen spreading the broad umbrageous foliage of the luxuriant plantain, bearing its fruit and displaying, in all the progressive stages, the different varieties, from the early blossom to maturity: curious Chinese symbols are suspended from the trunk, and connect themselves with a grand lustre, rising to a height of thirty feet, and reflecting the most varied and magical effect, being multiplied by other lustres, in the several angles adjoining. The walls are decorated with groups of figures, nearly the size of life, portraying the costume of the higher classes of the Chinese; domestic episodes, painted on a ground of imitative pearl, richly wrought, in all the varied designs of Chinese mythology. The furniture is of the most costly description—rose-wood inlaid with mother-of-pearl, and enriched with or molu chasings of the most elegant design; the effect of which is admirably contrasted with the rich glossy jars of blue porcelain, of English manufacture, and magnificent brilliancy. Centrally, between these magnificent apartments, is the Rotunda or Saloon; an oblong interior of fifty-five feet in length, the decoration chaste and classical in the extreme, being simply white and gold, the enriched cornice being supported by columns and pilasters, and the whole decoration uniting coolness with simplicity. The passages to some of the minor apartments are unique in their style of embellishment, which appears to be of polished white marble, but is, in fact, nothing but a superior Dutch tile, cemented smoothly, in plaster of Paris, and highly varnished. There are many other private and anterooms to the west of the Chinese gallery, the decorations of which are more simple, but in a corresponding style. We had now arrived at the Yellow Room (see Plate), where we understood his Majesty would receive his evening party.

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The apartment is fifty-six feet in length, by twenty in breadth, and is hung round with a rich fluted drapery of yellow satin, suspended from the ceiling, and representing a magnificent Chinese tent, from the centre of which hangs a chandelier of the most splendid design, the light of which is diffused through painted glasses, resembling in shape and colour every variety of the tulip, exciting the greatest admiration. The chimney-piece is Chinese, the stove formed by chimera chased in or molu, the figures above being models or automatons, of nearly the size of life, dressed in splendid costume, occasionally moving their heads and arms. The furniture of the room is of a similar character to those already described, except the seats, which are ottomans of yellow velvet, the window draperies being of the same splendid material. It was in this truly royal apartment we had the honour of waiting the approach of his Majesty, who entered, at about a quarter before ten, apparently in the enjoyment of the most excellent health and highest spirits. He was preceded by Sir A. F. Barnard and Lord Francis Conyngham, the grooms in waiting, and entered with the Princess Augusta leaning on his arm, the left of her royal highness being supported by the Duke of York; the Marquis of Conyngham followed, leading in his Marchioness; and the beautiful and accomplished Lady Elizabeth honoured Sir William Knighton as her conductor. The old Earl of Arran came hobbling on his crutches, dreadfully afflicted with the gout. Sir C. Paget, that merry son of Neptune, with Sir E. Nagle, followed; the rear being brought up by the fascinating Countess of Warwick and her ever constant earl. (See Plate.) Do not imagine, my dear Bernard, that I shall so far outrage the honourable feelings of a gentleman as to relate every word, look, or action, of this illustrious party, for the rude ear of eager curiosity. Those only who have witnessed the Monarch in private life, freed from the weight of state affairs, and necessary regal accompaniments, can form a correct judgment of the unaffected goodness of his heart; the easy affability, and pliant condescension, with which he can divest every one around him of any feeling of restraint—the uncommon sprightliness and vivacity he displays in conversation—the life and soul of all that is elegant and classical, and the willing participator and promoter of a good joke. Suffice it to say, the reception was flattering in the extreme, the entertainment conversational and highly intellectual. The moments flew so quickly, that I could have wished the hour of eleven, the period of the King's retiring, had been extended to the noontide of the morrow. But is this all, I think I can hear you say, this friend of my heart dares to repose with me on a subject so agreeable? No—you shall have a few on dits, but nothing touching on the scandalous; gleanings, from Sir E—— and Sir C——, the jesters of our sovereign lord the King; but nothing that might excite a blush in the cheek of the lovely Countess, to whom I was indebted for the honour and delight I on that occasion experienced. Imprimis:—I know you are intimate with that inimitable child of whim, Charles Mathews. He is in high estimation with royalty, I assure you; and annually receives the King's command to deliver a selection from his popular entertainments before him—an amusement of which his Majesty speaks in terms of the warmest admiration. On the last occasion, a little scena occurred that must have been highly amusing; as it displays at once the kind recollections of the King, and his amiable disposition. As I had it from Sir C——, you may depend upon its authenticity. I shall denominate it the King at Home, or Mathews in Carlton Palace. (See Plate.)

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