As chamber after chamber was added to the Castle, it became Walpole’s next care to fill them with fresh antiques in furniture, pictures, bronzes, armour, painted glass, and other like articles. “In his villa,” says Lord Macaulay, “every apartment is a museum, every piece of furniture is a curiosity; there is something strange in the form of the shovel; there is a long story belonging to the bell-rope. We wander among a profusion of rarities, of trifling intrinsic value, but so quaint in fashion, or connected with such remarkable names and events, that they may well detain our attention for a moment. A moment is enough. Some new relic, some new unique, some new carved work, some new enamel, is forthcoming in an instant. One cabinet of trinkets is no sooner closed than another is opened.” Of Walpole’s writings other than his letters, we do not propose to offer any detailed account or criticism. His earliest work, “Ædes Walpolianæ,” was published as early as 1747; it was merely a description of his father’s pictures at Houghton Hall, the family seat in Norfolk. Among his next efforts were some papers contributed in 1753 and following years to a periodical work of the day, called _The World_.[7] Most persons have read the “Castle of Otranto,” so warmly applauded by the author of “Ivanhoe.” Most students of art, we suppose, are acquainted with Walpole’s “Anecdotes of Painting,” and his “Catalogue of Engravers.” His “Catalogue of Noble and Royal Authors,” though abounding in agreeable anecdotes, is probably now consulted by few; and his “Historic Doubts on the Life and Reign of Richard III.,” acute and ingenious as it was, cannot detain anyone who is aware of the recent researches on the same subject. His “Reminiscences of the Courts of George I. and George II.,” and his “Memoirs” and “Journals” relating to the reigns of George II. and George III., are, and must ever remain, among the most valuable historical documents of the eighteenth century. The Reminiscences were written for the amusement of the Misses Berry, and have been extolled with justice as being, both in manner and matter, the very perfection of anecdote writing. The rest of Walpole’s works, including his tragedy of “The Mysterious Mother”--the merits of which, whatever they may be, are cancelled by the atrocity of the fable--are as nearly as possible forgotten.