There is no lack of pictures in this room. If we turn to the wall on the right of the door through which we have entered we observe over a sofa covered in dark red woollen stuff, a number of portraits in gilt frames. The uppermost of these is a portrait, either lithographed or in crayon, of the Emperor in plain clothes, then that of his sister, the Grand Duchess of Mecklenburg-Schwerin, and two small photographs of the Emperor in the uniform of a general. In front of this sofa there lay in 1870 the skin of a white lioness, in whose head gleamed two bright glass eyes. On the next wall, not far from the sofa, we find, again in a gilt frame, the portrait of the King of Bavaria in the dress of a civilian; and under this, framed in black, is a small water-colour portrait of the King of Italy, as a permanent guest in the Chancellor’s room. This picture has an interesting history, which will be given in a subsequent chapter on the Prince’s own authority. Victor Emmanuel, who is represented in uniform, has written a dedication under it. Then follows a small mahogany table with books, a carved tobacco chest, a white earthenware stove and a fireplace, together with a narrow door, papered over. Turning towards the third door we observe in a corner a carved pipe-rack, in which are a number of cherry-stick and jasmin stems and thick unmounted meerschaum heads, without mounts. Next to these is a cupboard with a mirror, and resting against it the full-length portrait of a lady, in a carved oak frame. This is the consort of Prince Charles, who died a few years ago. Behind this hang a plaster medallion, in a black frame, giving the bust of Moltke in profile, and above it the Great Elector and the Only Frederick look down upon us in life-size lithograph half-length portraits framed in gold. Further on we find a standing desk with maps, which, like all the furniture in this room, is made of mahogany, and a photograph of Princess Bismarck, also in a gilt frame. Near this a second papered door leads into the Chancellor’s bedroom. On the wall to the left of the door through which we entered is the only oil painting in the room, a life-size portrait, in an oval gilt frame, of the Prince’s daughter, in a ball dress. Beneath it on a cylinder desk stands a deer and a wild boar in cast iron, and a thermometer in the form of an advertisement pillar, and on a smaller adjoining table lies a collection of gloves and white and red military caps.