The Orangery is entered by a massive doorway between two splendidly carved colossal lions, after Canova. It is 108 feet in length and 27 in width, and, beside its myriads of beauties as a conservatory, contains some exceedingly fine specimens of sculpture. From the centre of the Orangery egress is had to the grounds, and at its north end a corridor (in which are some pieces of ancient sculpture and mosaic) leads to the baths and to a staircase which gives access to the banqueting or ball-room, and the open pavilion. These are not, of course, shown to the public; but, nevertheless, a few words may well be added concerning them.
The Ball-room, or Banqueting-room, as it is sometimes called, is a magnificent apartment, 81 feet long by 30 in width, and very lofty. The ceiling is divided into compartments, each of which contains a beautiful painting set in richly-gilt framing; the whole of the intermediate parts being painted in fresco, with medallions of crest and coronet and monogram of the Duke. Prominent among the subjects on the ceiling are Sir James Thornhill’s “Perseus and Andromeda,” paintings by Louis Charon, and a view of Chatsworth, with allegorical figures in the front. Over this room is the open Pavilion, from which extensive and charming views of the surrounding country are obtained.
The Pavilion and Orangery, from the East.
The lower, or Basement Story, remains to be noticed. This, like the other stories we have described, runs round the four sides of the quadrangle of the main building; the basement of the north wing being devoted to the kitchens and domestic and business offices. The grand staircase occupies the inner south-east angle, the grand hall and various private apartments taking up the east side. On the north is the entrance, the sub-hall, the north corridor, and various private apartments. The west front is occupied by the Duke’s private suite of rooms, the Marquis of Hartington’s private rooms, the west entrance, the west staircase, and corridor. The south side comprises the south corridor, the Chapel at the south-west corner, the Oak Room, the south entrance, the Stag Parlour, and other apartments. It will only be our province on this story (having already described the sub-hall, north corridor, and grand hall), to speak of the corridors, the Chapel, and cursorily of one or two other of the apartments on this floor. Passing beneath the grand staircase in the great hall is the “Grotto Room,” the ceiling of which, supported by four massive pillars and twelve pilasters, is divided into compartments; some of them being enriched by the insignia of the Order of the Garter. Opposite the entrance is a boldly and powerfully sculptured fountain-piece, the central subject of which is Venus at the Bath; the accessories being dolphins, crabs, lobsters, fish, and other appropriate objects. To the east of this room is an ante-room giving access to the south-east sitting-room (a charming apartment filled with interesting pictures and other works of art), and to the apartments on the east, as well as to the grounds. On the west is the South Corridor, from which doors open into the various rooms on this side. In this corridor are several curious old paintings, and it is further adorned with bronzes and some splendidly-carved antique coffers. In the centre of this corridor a door opens into the Oak Room, and, although this is not shown to visitors, it is so truly and strikingly beautiful that we cannot resist the temptation of just alluding to it. This was formerly the “Chaplain’s Room,” but by the good taste of its late noble owner was altered and made what it certainly now is, one of the gems of the house. It is lined on all sides with the most magnificent old oak carving of panels, figures, busts, &c.; and the ceiling is supported by four majestic twisted oak pillars, with composite capitals, carved in foliage, and reminding one forcibly of Raffaelle’s celebrated cartoon. The entablature is heraldic: it is composed of thirty shields of arms, emblazoned in their proper colours. The lower part of the “wooden walls” are arranged as book-cases, and above these the panels are doubly filled with a series of beautiful landscapes and sea-pieces, by Carmichael. The centre of the floor, within the oak piers, is of oak parqueterie; the remainder is filled with tiles, in imitation of tesselated pavement. Adjoining this room is the Chapel.
The Chapel at Chatsworth, which occupies the south-west angle of the mansion, is perhaps the most striking and peculiar to be seen in any of the “stately homes” of our country. Its arrangement also—for its altar is at the west end—is somewhat unusual, and its decorations are of the most exquisitely beautiful character. This elegant chapel is 47 feet 4 inches in length by 23 feet 10 inches in width, and in height it occupies two entire stories, reaching from the ground-floor up to the floor of the upper, or state-room, story. At its east end, midway in height, and communicating with the gallery of paintings and with the billiard-room, is a gallery supported upon two massive pillars of black marble, with white marble capitals and bases. The chapel is lighted by three windows on the upper story. The floor is paved with marble, and the altar-piece is also of marble; the pillar and steps of black, and the remainder of white marble. On the sides are two fine figures of Faith and Hope, by Caius Gabriel Cibber (father of Colley Cibber), who was much employed at Chatsworth from 1688 to 1690, or thereabouts, and who, besides these marble figures, carved two large Sphinxes, statues of Pallas, Apollo, a Triton, and other figures. The top of the altar-piece is exquisitely sculptured with cherubs and festoons, and at the sides are vases of flowers. In the lower pediment or recess is a dove, and there are also some charming figures of cherubs, &c.; under the recess is a most chaste and beautiful bust of our Saviour.
Carving over one of the Doors of the Chapel.
The chapel is wainscoted throughout in its lower story with cedar, which, besides its beautiful rich colour, gives a peculiar yet very grateful odour to the place, and accords well with the subdued light and its general effect. The reading-desk also is of cedar. The ceiling and the upper story of the apartment are painted in the same remarkably fine manner as those of the state-rooms, by Verrio and Laguerre; the subjects being, “The Incredibility of St. Thomas,” “Christ and the Woman of Samaria,” “Christ Healing the Blind,” and the “Ascension of our Saviour.” There are, also, figures of the Christian attributes, Justice, Mercy, Charity, and Liberality.