The paper that now covers the walls is a copy of an old pattern, and has been supplied by Messrs. Bertram, the decorators.
We may again notice here the five lofty doorways, surmounted by flat architraves, and the oak pilasters in the dado as characteristic of Kent. There was originally one of his great massive marble chimney-pieces in this room, long since replaced by the present plain insignificant one.
The dimensions of this room are 39 feet 6 inches long (from east to west), 28 feet wide, and 22 feet 8 inches high to the top of the cornice.
Painted Ceiling of the King’s Drawing Room.
THIS is another of Kent’s artistic efforts. There is in the Record Office a letter from Lord Grafton dated June 26th, 1725, conveying his majesty’s commands that “their Lordships of the Treasury would give orders to Mr. William Kent to paint the ceilings, etc. in the new apartments at Kensington”—including this one.
The cove of the ceiling, or portion nearest the cornice, is elaborately decorated with scroll-work and architectural ornaments, richly gilt and painted, and with medallions in the middle of each side supported by female figures. In the centre is a large projecting heavy oval frame of plaster, with the panel within it recessed about three feet. This is painted with the story of Jupiter and Semele, the God appearing in a thunder-cloud, and Semele, in a ridiculous attitude, on a couch. No painting could be worse. The signature of the artist, “William Kent pinxit, 1725,” has been found a little to the left of the right foot of Semele.
When the restoration of this room was taken in hand last winter, the ceiling was so begrimed with the dirt, dust, smoke, and smuts of upwards of a hundred and fifty years of London atmosphere, as to be nearly black. The cleaning was carried out with the most scrupulous care, and practically no re-painting or re-gilding has been necessary.
William Kent, the Royal and Fashionable Decorator.
THE whole effect of this ceiling if you do not look at it is rich and striking, and with the fine paper and the pictures on the walls will pass muster as a suitable decorative treatment of a grand state reception room. George I. and George II. at any rate had no hesitation in extending an unqualified approval to Kent’s work. After having finished this suite he grew into greater favour than ever. He was soon after appointed “Master Carpenter, Architect, Keeper of the Pictures, and Principal Painter to the Crown, the whole, including a pension of £100 a year, which was given him for his works at Kensington, producing—according to Walpole—£600 a year.” From the Court his vogue extended to a large circle of patrons and votaries. “He was not only consulted for furniture, as frames of pictures, glasses, tables, chairs, etc., but for plate, for a barge, for a cradle; and so impetuous was fashion, that two great ladies prevailed on him to make designs for their birthday gowns. The one he dressed in a petticoat decorated with columns of the five orders; the other like a bronze, in a copper-coloured satin, with ornaments of gold!”
