The house stands on the banks of the Thames, in a position very pleasant and beautiful in itself (almost buried in its magnificent trees, and affording a ready access to the river), but having little openness or elevation, and therefore placing some difficulties in the way of architectural effect. The house had been a somewhat commonplace straggling building. The site was such as to require a certain amount of irregularity in treatment. In 1837 Mr. Barry was consulted for its reconstruction. This was the time between the erection of the Travellers’ and Reform Clubs, and belongs architecturally to his earlier Italian style. Some considerable additions were made, especially a fine entrance corridor, and a belvedere, on which probably the architect relied for giving effect to a building which wanted elevation of site. But the whole house was remodelled both externally and internally--the work as usual growing in conception during its progress. It became externally an elegant and at that time an almost unique specimen of an Italian villa. The size is not considerable, but every detail is studied so as to produce that effect of harmony and perfection at which Mr. Barry at all times aimed. The style is simple, with the characteristic features of a predominating cornice, and (as in the Club-houses) a carefully studied proportion of solid wall to windows, and an Italian roof made a visible and ornamental feature.[50] Seen, as so many Italian villas are seen, on some rising ground, and with opportunity of comparatively distant views, it might have produced a more striking effect. As it is, although the plan and composition are well adapted to the site, some part of its beauty is lost. The interior arrangement has been quoted by Mr. Kerr[51] as an example on a smaller scale, and on a somewhat irregular plan, of the same “stateliness” [Illustration: WALTON SURREY. By Sir C. Barry.] of design which he observes in Bridgewater House. Yet it was certainly adapted most thoroughly to the special requirements of the case, and cannot be accused of sacrificing convenience to effect. The chief feature is the long entrance corridor, spacious and symmetrical, divided by pilasters into equal bays, each square having its pendentive ceiling--somewhat in the style which in an Italian climate would have produced an open loggia. The internal details of the rooms are simple, but with the simplicity which is the result of study and of thorough understanding of principles. The house marks the change of taste (which Mr. Barry had certainly a considerable share in promoting) from the older Greek style of country houses, with their huge porticoes and massive details, to the greater elasticity, elegance, and brightness of the Italian style. It can hardly be doubted that the change was an improvement, both in architectural propriety and in domestic comfort and cheerfulness.