“The architect was Montoyer. He built also the Vauxhall in the park at Bruxelles. The house was begun in 1782—it was finished in 1788. A small temple and the pagoda, the only buildings in the garden, are also by him.’ The pagoda has eleven floors. And there, as in Kew, it may be considered as a well-placed trifle.... “The grounds the Archbishop keeps in his hands are between two and three hundred acres. There is an artificial water, fifty _toises_ across and a quarter of a league long—the lawn sloping down to it from the house, with the uplands on the other side, and the fine woody hill form the prettiest scene. “The adjoining villa of M. Walkiers, the banker, is another more pretty building by Montoyer, amidst the same little fertile scenery. The architecture is Ionic. With a _loggio_ throughout the middle floor of one front, like an Italian villa, the ground plan of the house is about 150 feet by 50. There is a small grass plot before and behind with side walks, through very small trees, in half a dozen strait alleys: not one of the trees are worth five shillings. There is no gravel for the feet, no water for the eye, and the inclosure is a flimsy two-feet hedge which a child may either pass through or step over.” [Illustration: PLATE LVI.—_Room in the Stedelijk Museum._ ] The new style of ornamentation of the _Régence_ and _Louis Quinze_ periods, with its broken curves, auricles, rococo and _rocaille_ work, was carried to greater extremes in Germany and Holland than in France. The school of Borromini, Oppenord and Meissonier carried everything before it, in spite of great opposition on the part of those who clung stubbornly to the traditions of Renaissance art. Carved panelling adorned the walls of rooms, and ceilings, picture and mirror frames, chairs, beds, tables, etc., all submitted to the new designs for chisel-work. A room with furniture of the early eighteenth century is illustrated in Plate LVI. This is in the Stedelijk Museum in Amsterdam, and the woodwork and painted ceiling come from an old Dutch _château_. The chairs, with their carved frames and stretchers, were in vogue in the last years of Louis XIV and under the Regency. The cabinet with its graded top for the accommodation of porcelain vases is characteristic of the period. The frames of the mirror and picture and the mantelpiece are also fine examples of Decorative Art of the days immediately after British soldiers used such bad language in the Low Countries. In passing it may be noticed that Marlborough’s campaigns in the Netherlands had considerable influence on English taste of the day and forming the “Queen Anne” style, by familiarizing British officers with the Decorative Arts of the United Provinces. The Peace of Utrecht (1713) left the Netherlands free to pursue the arts of peace, which they did, so far as internal decoration is concerned, in the wake of the foe they had so bitterly combated. We may note here that the richly carved table