Having completed his purchase, Walpole proceeded to make improvements. His antiquarian studies had inspired him with a fondness for Gothic architecture. But his zeal was not according to much knowledge, nor guided by a very pure taste. Gradually the little cottage became merged in a strange nondescript edifice, half castle, half cloister, with all kinds of grotesque decorations. “The Castle,” so Walpole called it, “was,” he tells us, “not entirely built from the ground, but formed at different times, by alterations of, and additions to, the old small house. The Library and Refectory, or Great Parlour, was entirely new-built in 1753; the Gallery, Round Tower, Great Cloister, and Cabinet, in 1760 and 1761; the Great North Bed-chamber in 1770; and the Beauclerk Tower with the Hexagon Closet in 1776.” In a small cloister, outside the house, stood the blue and white china bowl, commemorated by Gray, in which Walpole’s cat was drowned. On the staircase was the famous armour of Francis I. In the Gallery, among many other treasures, were placed the Roman eagle and the bust of Vespasian, so often mentioned in their owner’s correspondence. The buildings were no more substantial in structure than they were correct in style. Much cheap ridicule has been poured upon “the Castle,” as “a most trumpery piece of ginger-bread Gothic,” with “pie-crust battlements,” and “pinnacles of lath and plaster.” Many of its faults and absurdities must in justice be referred to the novelty of the attempt to apply a disused style to the requirements of a modern domestic residence. Walpole himself was by no means blind to the flimsiness and incongruities of his creation. He was rather indignant, indeed, when a French visitor censured it as “non digne de la solidité Anglaise;” but in his own description of it he calls it “a paper fabric,” and speaks of the house and its decorations as “a mixture which may be denominated, in some words of Pope: ‘A Gothic Vatican of Greece and Rome.’” With the help of Mr. Essex, who assisted him in designing the later portions, he gradually learned the depth of the architectural ignorance in which he and the “Committee,” who were his first advisers, had been involved at the commencement of his work. In short, Strawberry Hill, child’s baby-house as it was, proved the first step in the renascence of Gothic art.