painted, the subject being, in the centre, the flight of Mercury on
his mission to Paris, and, on the coving, groups representing the Arts
and Sciences. The wood-carving in this room, as in the whole of this
suite of apartments, is of the most wonderful and most exquisitely
beautiful character, and is unmatched in any other existing mansion.
On the west side are four pendants and a group of the most delicate
workmanship, and over the principal doorway is represented a group of
carvers’ tools, &c.—a globe, compass, brace and bit, square, augurs,
chisels, gouges, _cum multis aliis_, and a small bust. This apartment
contains some fine Japan, inlaid, and other cabinets, and curious old
earthenware; and on the walls, besides a clever picture in mosaic, is a
frame containing what is universally admitted to be the finest and most
wonderful specimen of wood-carving ever executed;—this we engrave.
It is usually called “Grinling Gibbons’ masterpiece,” and whether by
Gibbons or not (and there is no direct authority either one way or
other), it is, _indeed_, a masterpiece of art. Concerning the question
whether the carving is by Gibbons or not, we shall have a few words to
say when writing of the chapel. The “masterpiece” is a group consisting
of a cravat of point-lace, as clear and delicate in the open-work as
the finest lace itself, a woodcock, some foliage, and a medal with a
bust in relief. Of this group Horace Walpole thus wrote:—“When Gibbons
had finished his work at that palace (Chatsworth) he presented the
Duke with a point cravat, a woodcock, and a medal with his own head,
all preserved in a glass-case in the gallery;” but he had no authority
for any such statement, nor is there any record of Gibbons having ever
been at Chatsworth. From the door of this room the vista, when looking
through the state-apartments, is remarkably striking and effective; the
flooring throughout the suite being of oak parqueterie which reflects
the light in a pleasing manner. This we engrave.
[Illustration: _Grinling Gibbons’ Masterpiece._]
The OLD STATE-BED-ROOM, the first apartment seen through the doorway in
our engraving, is a fine and very interesting apartment. The ceiling,
which is coved, is splendidly painted, the principal subject being
“Aurora chasing away the Night;” and the walls are hung with embossed
leather of rich arabesque pattern, heavily gilded; the frieze, also
of embossed leather, is richly foliated, with medallions bearing
respectively the bust of the late Duke of Devonshire, his crest and
coronet, and his monogram, alternating round the room. Over the
doorways are splendid examples of wood-carving of groups of musical
instruments; on one group is suspended a medallion head of Charles II.,
and the words “CAROLVS II. DEI GRATIA,” and on the other a watch. Over
and around the chimney-piece are cherubs’ heads, birds, foliage, &c.,
of the same fine class of wood-carving. In this room (besides cabinets,
vases, and beakers, and a charming model of the tomb of Madame Langlan,
at Hildebank, near Berne, in which the spirits of the mother and child
are seen bursting through their broken tomb) is a noble and ancient
embroidered canopy and state-chair, the work of Christiana, Countess of
Devonshire, the wife of the second Earl of Devonshire.
[Illustration: _The Old State Bed-room._]
The canopy is of crimson velvet, exquisitely covered with needlework
in gold and colours, in groups of figures, trees, animals, and
insects;—here, a goat, a stag, a fox, a rabbit, a pig, dogs both
leashed and single, a horse, an eagle, and a swan; there, butterflies,
flies, and innumerable other devices around; while inside the top
a group of three figures within a border is in the centre, and the
rest dotted with animals, flowers, &c., with a border of figures and
foliage. The back of the canopy bears, above the chair, the arms of
Cavendish (_sable_, three bucks’ heads caboshed, _argent_, attired
_or_) impaling those of Bruce of Kinloss (_or_, a saltire and a
chief, _gules_, on a canton, _argent_, a lion rampant, _azure_), with
mantling, helmet, crest, &c. Supporters, dexter, a stag, proper,
gorged with a wreath of roses, _argent_ and _azure_, attired _or_,
for Cavendish; sinister, a wild man, proper, wreathed round the
head and loins with laurel, _vert_, for Bruce. Motto, CAVENDO TVTVS
FVIMVS; the first part, “Cavendo Tvtvs,” being the Cavendish motto,
and the latter part, “Fvimvs,” that of Bruce; the rest of the velvet
is covered with flowers, animals, &c., and surrounded by a border of
groups and flowers. The chair is of the same character, Christiana,
Countess of Devonshire, to whose fair hands is owing this charming
piece of embroidery, and to whose good taste the arrangement of these
blended armorial insignia is due, was the daughter of Edward, Lord
Bruce of Kinloss, and sister of the first Earl of Elgin, from whom the
present ninth Earl is lineally descended. The armorial bearings upon
this canopy are therefore peculiarly interesting as showing, not only
the impaled arms themselves, but the blended supporters and motto, of
Cavendish and Bruce. In this room are also preserved the coronation
chairs and foot-stools of George III., and Queen Charlotte, and of
William IV. and Queen Adelaide; and a wardrobe which is said, whether
correctly or not, to have belonged to Louis XVI.
The STATE MUSIC-ROOM, like the others, contains some exquisite
wood-carving. Over one doorway are flowers, fruit, wreaths, wings, &c.,
and a ribbon with the family motto “CAVENDO TVTVS;” over the other,
flowers, fruit, and cornucopia; and over the chimney-piece are heads,
festoons, flowers, fruit, corn, foliage, &c., all true to nature.
Over the central door is a group of musical instruments, and in the
centre of the frieze is a garter and monogram. The walls are hung with
embossed leather, richly gilt and heightened with blue, and the frieze
has the medallion heads, crest, and monogram of the late Duke, as in
the apartment just described. The ceiling is splendidly painted with
mythological subjects, and several interesting pictures, busts, and
other objects, are arranged in the room. One of the features of this
apartment remains to be noticed. It is a curious piece of deceptive
painting on one of the double doors leading to the gallery—a fiddle
painted so cleverly on the door itself as to have, in the subdued light
of the half-closed door, all the appearance of the instrument itself
hanging upon a peg. The tradition of Chatsworth is, that this matchless
piece of painting was done by Verrio to deceive Gibbons, who, in his
carvings, had deceived others by his close imitation of nature.
The STATE DRAWING-ROOM has its walls hung with tapestry from
Raffaelle’s cartoons, and its carved ceiling is splendidly painted
with mythological and allegorical subjects, in the same manner as the
rest of this suite of rooms. The carving over one of the doors is a
military trophy, consisting of swords, drum, battle-axes, shield,
helmet, with dragon crest, foliage, &c.; and over the other, military
music and foliage. Above the chimney-piece, around an oval in which is
a portrait of the first Duke, are Cupids, trophies, shells, foliage,
masks, helmets, arms, &c., and an owl; beneath these are two carved
banners with the Cavendish arms, tied together with a snake (the family
crest). Among the furniture and adornments of this room are some fine
examples of china and earthenware, and a remarkably large malachite
table.
[Illustration: _The State Drawing-room._]
The STATE DINING-ROOM, which forms the south-east angle of the
building, is a splendid apartment, the ceiling of which, by Verrio, is
of the most masterly conception, and represents, among an assemblage of
gods and goddesses, the Fates cutting the thread of life, &c., and on
one side of the coving is a monogram of the letter D.
[Illustration: _The State Dining-room._]
The carvings in this noble apartment are of matchless character, and
hang in a profusion that is almost bewildering. In the panels of the
wainscoted walls are festoons of flowers, &c.; over one doorway is a
group of leaves and corn, and over the other two are splendid groups
of crabs, lobsters, fish, and shells, all “as true to nature as nature
itself.” Over the fire-place, across the top, and hanging down the
sides of an octagonal tablet, is the richest of all the rich carvings
of this suite of rooms. It consists of dead game—heron, pheasants,
&c., at the top; over and around these a net is loosely thrown, which,
hanging down the sides, forms a groundwork of festoons, on which hang
pheasants, woodcocks, grouse, partridges, snipes, and other birds, so
true to life that it is only by careful examination that the spectator
can discover that they, with the net and all the mouldings, are carved
out of solid wood. In this room are several busts in marble by
Chantrey, Nollekens, and others. Among these are the Emperor Nicholas
of Russia, and his Empress; Fox; Canning; Francis, Duke of Bedford;
Lord G. H. Cavendish, &c. There are also cabinets of rare old china. On
the central table will be noticed, among rare and valuable articles,
the rosary of King Henry VIII.; a fine set of carved ivory chessmen;
ivory-carvings, rare glass and china; and silver filigree and other
ornaments. And there is also the malachite clock presented to the late
Duke by the Emperor Nicholas of Russia, and an exquisitely sculptured
marble model of the Victoria Regia.
From this room a doorway opens on to the GRAND STAIRCASE—the casings
of the doorways, of exquisitely-carved marble, being worthy of especial
note—in the south-east angle. Opposite this doorway another door opens
into a suite of apartments, of course not shown to visitors, but to
which some brief allusion may here be made. Here are the rooms usually
known as MARY QUEEN OF SCOTS’ ROOMS, but which really have no possible
connection with that ill-fated lady. They are so called because they
occupy the same position in the present building as those used by her
did in the old one; they overlook the inner court, or quadrangle, on
its east side. The other suites of bed-rooms adjoining are known as the
“Leicester” and “Wellington” rooms, and they are fitted, as may well be
supposed, in a style of princely magnificence. In one of these rooms
is the bed and bed-room suite used by Her Majesty Queen Victoria when
a guest at Chatsworth. This suite is of satin-wood, hung in green and
white satin.
On this same floor is the SABINE-ROOM, so called from the subject
of the “Rape of the Sabines,” by which it is adorned. This singular
apartment, when the doors are closed, is one large painting, the whole
surface, from floor to ceiling, doors included, being painted with
figures, groups, and architecture, &c. The ceiling, too, is splendidly
painted with an allegorical subject. At the angles of the coving is the
monogram of the Duke of Devonshire, within a garter, and surmounted by
the Ducal coronet. The furniture of this and the adjoining room is of
the finest, most massive, and sumptuous description.
The MIDDLE, or LIBRARY STORY, besides occupying the four sides of the
quadrangle or inner court (in the same manner as the upper story),
extends the whole length of the north wing; it is, therefore, the
most extensive and important part of the mansion. The grand staircase
is at the inner south-east angle, and the north stairs at the inner
north-east angle. The south side is taken up with the gallery of
paintings, the chapel (at the south-west angle), the billiard-rooms,
and the two drawing-rooms; the west by the gallery of paintings,
the west staircase, and suites of bed-rooms; the north side by the
library-corridor and sumptuous bed-rooms, &c.; and the east side by
galleries of the great hall, and the library and ante-library. The
north wing, continuing in a line with the libraries, comprises the
dining-room, sculpture-gallery, and orangery.
The GALLERY OF PAINTINGS, which occupies two sides of the quadrangle,
and from which access is had to the various apartments, contains,
with the adjoining ante-room, many remarkably fine and valuable
art-treasures—such, indeed, as no other mansion can boast. Among
these, it will be sufficient to name Landseer’s original paintings
of “Bolton Abbey in the Olden Time,” and “Laying down the Law,” a
number of family portraits by Reynolds, Lawrence, and others; with two
remarkable representations of the old mansion, one of which we engrave
on page 325.
The BILLIARD or MUSIC-ROOM, and the GRAND DRAWING-ROOMS, which form one
continued suite, are as well-proportioned, as chastely and elegantly
decorated, and as magnificently furnished, as can well be imagined,
and they contain a matchless collection of works of art. In the
billiard-room, from which a door opens into the gallery of the chapel,
are several remarkably good paintings, the most striking of which are
an admirable full-length portrait of the present Duke of Devonshire,
seated, and a full-length portrait of the father of the present noble
Duke. Among the treasures of art in the drawing-room (the ornaments
of the ceiling and cornices of which are richly gilt) may just be
named Reynolds’s celebrated portrait of “the beautiful Duchess” of
Devonshire, Rembrandt’s grand head of a Jewish Rabbi, and picture-gems
by Claude, Murillo, Bassano, Steinwyck, Salvator Rosa, Titian, Berghem,
Gaspar Poussin, Leonardo da Vinci, Primaticcio, Parmigiano, Watteau,
Teniers, Breughel, Guercino, Giordione, Carlo Maratti, Jan Miel, and
others.
In the Grand Drawing-room, which has a splendid ceiling divided into
compartments, and, with the massive panellings of the pictures let into
the walls, is richly gilt, are some rare and priceless full-length
paintings. These are Philip II., by Titian; Admiral Capella, and
Antonio de Dominis, by Tintoretto; the Duke of Albemarle, by Dobson;
Henry VIII., by Holbein; Mary Queen of Scots, by Zucchero; and Charles
I., by Jansen. The furniture is of the most sumptuous character, and
every elegancy which the most perfect taste can desire, or the most
liberal expenditure secure, adds endless charms to the room. We
engrave one portion of this apartment, and also the Hebe of Canova,
with which, and other rarities, it is graced.
[Illustration: _The Drawing-room._]
[Illustration: _The Hebe of Canova._]
From the south windows of this suite of rooms a magnificent view of the
grounds is obtained. Immediately beneath is the spacious lawn, bordered
with raised parterres, festoon flower-beds, and sculpture; in the
centre of the lawn is a basin with a central and four other fountains.
Beyond this is seen the lake, with the “Emperor” fountain casting up
its waters to an enormous height, and skirted on its sloping sides with
majestic forest trees, and with grassy slopes and statuary; the park
stretching out to the right. From the east window of the drawing-room
the view is equally fine, but of different character. Here is seen, in
all its beauty, the wonderful cascade shown in one of our engravings,
the waters of which come rolling down from the dome of the temple to
the head of the broad walk in the middle of the grassy slope where
it disappears under the ground and is no more seen. To the right and
left beautiful glimpses of the grounds are obtained, while beneath the
window, to the right, a flight of steps, guarded by two sculptured
lions, forms a striking foreground. From this room, besides the doorway
which connects it with apartments we have been describing, one door
gives access to the grand staircase, and another to the library.
Of the various apartments composing the north and west sides, it will
be unnecessary for our present purpose here to speak, further than
to say that they are as sumptuously and as tastefully arranged and
furnished as such a palace with such a princely owner requires.
The LIBRARY, which is about 90 feet long by 23 in width, and of
corresponding height, is one of the most elegant, best arranged, and
most perfect libraries in existence. This noble apartment has eight
windows in length on its east side, between which are presses for
books, surmounted by looking-glass; the opposite side and the ends are
also lined with books, and an elegant gallery, to which access is had
by a concealed spiral staircase, runs along the ends and one side.
The ceiling is white and gold, and is adorned with three large, and
five smaller, circular paintings of the most exquisite colouring, by
Louis Charon. The mahogany book-cases are divided into presses by gilt
metal-columns, from which stand out the brackets supporting the gallery.
[Illustration: _The Library._]
The chimney-piece, of Carrara marble, has beautifully sculptured
columns with wreaths of foliage, and is surmounted by candelabra,
massive vases, and a magnificent mirror. In the glass-cases and
table-presses, as well as on the shelves, are preserved, as may well
be supposed, one of the richest and rarest collections of books and
MSS. which any house can boast. It would be an endless task, and indeed
quite out of place in this work, much as we desire to linger in the
room, to attempt to give even a very brief _résumé_ of the treasures
it contains. We cannot, however, resist the temptation of saying that
here is the famous Anglo-Saxon MS. of Caedmon, which is altogether,
perhaps, the most important, and the finest MS. of the period. The
prayer-book of Henry VII. is highly interesting, both historically and
artistically. It is of 8vo size, and consists of 186 leaves of vellum,
on several of which are beautiful miniatures in the most exquisite
colouring and design; many of these designs, as notably, our Saviour
in the act of benediction, the murder of St. Thomas A’Becket, and St.
George, are remarkably fine both in conception and execution. It was
given by the king, Henry VII., to his daughter, Margaret, Queen of
Scotland, mother to the Lady Margaret Douglas, who in turn gave it to
the Archbishop of St. Andrew’s. It contains the following among other
touching gift lines:—
“Remembre yr kynde and louyng fader in yo^r good prayers. Henry R.”
“Pray for your loving father that gave you this booke and gave you
God’s blessing and mine.”
“My good Lorde of St. tandrews, I pray you pray for me that gave you
thys bouk. Yours to my powr, Margaret,”
and many other MSS. The _compotus_ of Bolton Abbey, 1287 to 1385; the
“Liber Veritas” of Claude Lorraine (for which, we believe, no less
than £20,000 was at one time offered); a splendid collection of Wynkyn
de Worde’s and Caxton’s printings; a marvellously fine assemblage of
early editions;—altogether, as rich, as curious, as important, and as
valuable a collection of books as can anywhere be found. We know of no
place where we should so much delight to remain as among the literary
treasures in this grand library, which has for us many hidden charms.
Passing out from this splendid apartment, is the ANTE-LIBRARY, formed
of two exquisitely beautiful little rooms, filled with books of the
greatest value and interest. The ceiling of the first or larger room of
these is richly gilt, and adorned with paintings by Hayter and Charles
Landseer. The smaller apartment is a perfect architectural gem, of
apsidal form, the dome supported by a series of columns and pilasters
with Corinthian capitals. In this room are some remarkably fine
vases on pedestals. From the Ante-Library a door opens on the NORTH
STAIRCASE, on which are hung a fine full-length portrait of the late
Duke of Devonshire, by Sir Francis Grant; full-length portraits of the
Emperor Nicholas of Russia, and of his Empress; Sir Thomas Lawrence’s
full-length portrait of George IV. in his coronation robes; and a
curious old painting, nearly life-size, of the “Flying Childers,” with
the following “certificate” of the age of the horse;—“September ye 28,
1719. This is to certifie that the bay stoned horse his Grace the Duke
of Devonshire bought of me was bred by me, and was five years old last
grass, and noe more. Witness my hand, Leo. Childers.”
[Illustration: _Fireplace by Westmacott in the Dining-room._]
The DINING-ROOM is a large and noble apartment with a slightly
“barrel-shaped” ceiling, divided into hexagonal panels filled with
roses and foliated flowers richly gilt. The doors, at one end opening
into the vestibule leading into the cabinet library, and at the
other into the sculpture-gallery, have their cases of white marble,
the entablatures supported on massive Ionic columns. The room is
lit by five windows on its east side, and opposite to these are two
exquisitely beautiful white marble chimney-pieces, each of which has
two life-size statues, two by Westmacott and two by Sievier. Around
the room are six side-tables; two are of hornblende, two of Siberian
jasper, and two of porphyritic sienite. The furniture is massive and
appropriate, and the walls display family portraits, chiefly by Vandyke.
[Illustration: _The Sculpture Gallery._]
The SCULPTURE GALLERY, one of the “glories” of Chatsworth, is entered
from the dining-room at one end, and at the other opens into the
Orangery. This noble gallery is 103 feet in length and 30 in width, is
of proportionate height, and is lighted from the roof. The walls are of
finely-dressed sandstone, and the door-cases of Derbyshire marble; the
entablatures supported by Corinthian columns and pilasters of various
marbles with gilt capitals. Of the precious treasures contained in this
gallery it would be impossible, in the space we have at our disposal,
to speak at length. We shall, therefore, content ourselves with simply
enumerating some of the more prominent sculptures, noting that the
pedestals, columns, &c., are all of the most choice and valuable
materials. Among the examples here, and in other parts of the mansion,
so charmingly and effectively arranged, are the following:—
[Illustration: _Mater Napoleonis._]
By Canova, a statue of Endymion sleeping, his dog watching at his feet;
a statue of Hebe; a statue of Madame Mère, the mother of Napoleon; a
colossal bust of Napoleon; a bust of Madame Mère; a noble bust of the
late Duke of Devonshire; some female heads; and a bust of Petrarch’s
Laura. By Thorwaldsen, a fine statue of Venus with the apple; a bust
of Gonsalvi; _bassi-relievi_ of Day and Night; Priam petitioning
Achilles for the dead body of Hector; Briseis taken from Achilles by
the heralds; and others. By Chantrey, a bust of George IV.; a bust of
Canning. &c. By Schadow, a statue of the Filatrice, or Spinning-Girl;
and some beautiful bas-reliefs. By Finelli, a statue of Cupid playing
with a butterfly. By Trentanove, a seated figure of Cupid in thought;
a relief-profile; a bust of a Vestal, after Canova. By Kessels, a fine
statue of a Discobolus or quoit-thrower. By Tadolini, a powerful
statue of Ganymede with the eagle. By Albacini, a statue of Achilles
wounded. By Pozzi, a fine group of Latona reproaching the shepherds,
accompanied by the young Apollo and Diana. By Tenerani, a group of
Cupid taking out a thorn from the foot of Venus. By Gibson, a splendid
group of Mars and Cupid. By Wyatt, a charming statue of Musidora. By
Gott, a statue of Musidora; a colossal bust of Ariadne; and a group of
greyhound and puppies. By R. Westmacott, a statue of a cymbal-player;
and a bas-relief of Bacchantes springing through the air. By Bartolini,
a recumbent statue of a Bacchante; statue of the Venus de Medici; a
bust of the Countess Maria Potocka; and the Medici Vase. By Barruzzi,
a group of Venus and Cupid. By Prosalendi, a statue of Diana. By T.
Campbell, a statue of the Princess Pauline Borghese; a bust of the
same princess; a colossal bust of the late Duke of Devonshire; a bust
of Thomas, Earl of Newburgh. By Rinaldi, a bust of Ceres and a bust
of a Bacchante; a colossal bust of Canova. By Rennie, a colossal bust
of Achilles. By Rauch, a bust of the Emperor Nicholas. By Wickmann, a
bust of the Empress Alexandra Feoderowna. By Nollekens, busts of C. J.
Fox; Francis, Duke of Bedford; William, fifth Duke of Devonshire; and
Lord George Cavendish. By Bonelli, a bust of Lady George Cavendish. By
Dantan Jeune, a bust of Bellini. Many of the busts here named are in
the state-rooms, and besides the sculptures we have enumerated there
are many other beautiful examples of this art in various parts of the
house and grounds. From the Sculpture Gallery—
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.