In King William’s time the windows must have been of a different type to those now here, which are in the style of Kent. As to the walls, they were then probably painted with simple ornaments. Among the Kensington accounts for the year 1692, we have found the following record of a payment relating to such work:
“To Robt. Streeter, Sergt Painter, for japanning, gilding and painting several Roomes and Lodgings in the said Pallace, painting severall staircase, and the Guard Chamber, and other places in and about the said Pallace—£3,599.”
Kent’s Alterations in the King’s Grand Staircase.
KENT’S improvements, which must have been carried out about 1725, included—besides the painting of the walls and ceiling—the alteration of the approach to the staircase on the ground floor, where he inserted, in the area or “well,” an arcade of two plain arches, which support, or rather appear to support, the landing above. Under the first arch begins the wide flight of black marble steps, with two landings in the ascent, paved with alternate squares of black and white marble, as is also the long top landing or balcony. The balusters are now painted blue, their original colour, found under successive coats of more recent paint. The hand-rail of oak has had its dirty paint cleaned off.
No one who did not see this staircase before the restorations were begun can conceive the woeful state of dust, filth, decay and rot which it then presented. With the fine iron balusters broken, damp oozing from the walls, the paintings indistinguishable from incrustations of smoke, and strips of the painted canvas hanging from the walls in shreds—it seemed impossible that it could ever be restored to its pristine splendour. The visitor must judge for himself whether this result has not been triumphantly accomplished.
The Painted Walls of the King’s Grand Staircase.
OPPOSITE the balustrade, on the right side as one goes down the stairs, is a low wainscot of plain moulded panelling; and above this, level with the top of the second landing, is painted a large Vitruvian scroll. The square space thus formed beside the first landing, and the spandril space beside the rise of the stairs, are filled with representations, in chiaro-oscuro, of sea-horses, armorial trophies and other devices, and scroll-work, heightened by gilding. These, as well as similar paintings on the arcade, opposite and under the stairs, show that Kent’s taste and skill as a decorative artist were by no means contemptible, whereas as a painter of subjects or figures he was no artist at all.