Some lines, scarcely better, have been appended by Henry Luttrell, Esq.; but the genius of the place has essayed a flight no higher than that which might grace a school-girl’s album. Nature has done more for the domain than art; from various points, fine views are obtained of the country that surrounds London; and although, of late years, they have been sadly narrowed by “endless piles of brick,” when Tickell wrote his lines on the death of Addison, no doubt they were “Fresh and Fair.”
Considerable alterations internally were made to the building by Inigo Jones. The entrance-hall, the two staircases, and the parlour leading out of the principal staircase, are the only parts of the mansion on the ground-floor that still retain their original character. On the first floor, beside the Gilt Room, is a noble long gallery, now the library, and the late Lady Holland’s drawing-room or boudoir. All these rooms preserve their ancient decorations, and are in the purest taste and the most costly style of execution.
“The Gilt Room,” which forms the subject of the appended print, is approached from the entrance-hall by a richly ornamented oak staircase. From the style of the details it would appear that it was the work of John Thorpe, and that the painted decorations were the produce of Francis (or Francesco) Cleyn, a favourite artist of the time, who was employed largely by the kings James I. and Charles I., from whom he derived an annuity of 100l., settled on him during his natural life, and which he enjoyed till the Civil War. The ceiling of the room was originally painted by him in the same style as the other portions of the apartment; being out of repair during the minority of his late lordship, it was removed, and a plain one put up in its stead. In the view here given, Mr. Richardson has supplied it from such fragments and sketches as were obtainable several years ago.
Notwithstanding the loss of its painted ceiling, the room presents an appearance of elaborate magnificence, and of unique singularity—carrying us back at once to that luxurious period, the early part of the reign of Charles I. The paintings, the figures over the fireplaces, deserve great praise, although we cannot entirely coincide with Horace Walpole, who declares (in his life of Cleyn) that they are not unworthy of Parmigiano. The paintings—such as remain over the fireplaces and soffites of the arches—certainly are masterly, though the architect might discover a little of the “contract style” about them. Cleyn was employed by Charles I., whose good taste led him to patronise only the most eminent men in art. The painter was denominated “Il famosissimo pittore Francesco Cleyn, miracolo del secolo, e molto stimato del Re Carlo della Gran Britania.”[6]
This cut represents some of Cleyn’s painting in the soffite of one of the arches in the gilt-room; it is roughly painted—although in a free and masterly style—in umber, on a white ground; the drapery, dress, and hair of the figures, are gilt.
From a drawing by C. F. Richardson, F.S.A. Day & Son, Lithʳˢ to The Queen.
THE GILT ROOM, HOLLAND HOUSE.