How shall we describe Chateau Desir, that place fit for all princes? In the midst of a park of great extent, and eminent for scenery, as varied as might please nature’s most capricious lover; in the midst of green lawns and deep winding glens, and cooling streams, and wild forest, and soft woodland, there was gradually formed an elevation, on which was situate a mansion of great size, and of that bastard, but picturesque style of architecture, called the Italian Gothic. The date of its erection was about the middle of the sixteenth century. You entered by a noble gateway, in which the pointed style still predominated; but in various parts of which, the Ionic column, and the prominent keystone, and other creations of Roman architecture, intermingled with the expiring Gothic, into a large quadrangle, to which the square casement windows, and the triangular pediments or gable ends supplying the place of battlements, gave a varied and Italian feature. In the centre of the court, from a vast marble basin, the rim of which was enriched by a splendidly sculptured lotus border, rose a marble group representing Amphitrite with her marine attendants, whose sounding shells and coral sceptres sent forth their subject element in sparkling showers. This work, the chef d’oeuvre celebrated artist of Vicenza, had been purchased by Valerian, first Lord Carabas, who having spent the greater part of his life as the representative of his monarch at the Ducal Court of Venice, at length returned to his native country; and in the creation of Chateau Desir endeavoured to find some consolation for the loss of his beautiful villa on the banks of the Adige.

Over the gateway there rose a turreted tower, the small square window of which, notwithstanding its stout stanchions, illumined the muniment room of the House of Carabas. In the spandrils of the gateway and in many other parts of the building might be seen the arms of the family; while the tall twisted stacks of chimneys, which appeared to spring from all parts of the roof, were carved and built in such curious and quaint devices that they were rather an ornament than an excrescence. When you entered the quadrangle, you found one side solely occupied by the old hall, the huge carved rafters of whose oak roof rested on corbels of the family supporters against the walls. These walls were of stone, but covered half-way from the ground with a panelling of curiously-carved oak; whence were suspended, in massy frames, the family portraits, painted by Dutch and Italian artists. Near the dais, or upper part of the hall, there projected an oriel window, which, as you beheld, you scarcely knew what most to admire, the radiancy of its painted panes or the fantastic richness of Gothic ornament, which was profusely lavished in every part of its masonry. Here too the Gothic pendent and the Gothic fan-work were intermingled with the Italian arabesques, which, at the time of the building of the Chateau, had been recently introduced into England by Hans Holbein and John of Padua.

How wild and fanciful are those ancient arabesques! Here at Chateau Desir, in the panel............