In the =six niches= are well-designed statues of classical deities--Ceres, Mercury, Venus, Minerva, Bacchus, Apollo, in cast lead, somewhat under life-size. These were so dirty and tarnished as to necessitate their being entirely new-gilt. Above them, standing on brackets in flat rectangular niches, were formerly busts representing Roman poets, now unfortunately no longer to be found. The two =doorways= opposite each other are likewise of the same fine polished marble, with pilasters and pillars of the Ionic order, supporting heavy entablatures, on the apexes of which are antique busts. The =chimney-place= is of the same design in miniature, of polished "dove-coloured" white-veined marble, similar to that at Marlborough House. On the apex was formerly a gilt bust of Cleopatra, now missing. Within the fireplace itself are very fine panelled and moulded "covings" or sides, of the same "dove-coloured" marble, discovered during the progress of the restorations. Above the chimney-piece is a large =bas-relief= in statuary marble representing a Roman marriage, sculptured by the statuary Rysbach. It is a fine work, but one feels rather as if standing in front of a sepultural monument in some foreign _campo santo_ than before an English fireside. Rysbach, who was a native of Antwerp, came over to England in 1720, four or five years before he executed this work. His talents were for some time--as have been those of many an unsuspecting foreigner--exploited by a commercializing British impresario, Gibbs. Two-thirds of the prices paid for his work found its way into the pockets of the unscrupulous intermediary, until Rysbach, at last shaking himself free from this bondage, took commissions on his own account, and, becoming the rage, he was able to exact great prices for his work. It is possible that he designed the gilt statues in the niches, which seem too good for Kent's narrow invention. General appearance of the Cupola Room. Such was the decoration of this famous Cupola or Cube Room when finished by Kent, such it appeared in 1818, when Pyne's drawing, from which our illustration is taken, was made, and such it appears to this day, save for the large musical clock which then stood in its centre, for the console tables against the walls, and the four large chandeliers that hung from the ceiling. These last were most essential features in this saloon, for its windows, abutting northwards on the private gardens, admit but very insufficient light; and only when illuminated by a blaze of candlelight can full justice have been done to the extravagant glories of its walls and ceilings.