With respect to the interior of the house at Mamhead it is admirable, and we can only speak of the arrangement and the execution of the work in terms of the highest praise. There is, however, one point here which we cannot pass over without notice, because we think that it is calculated to propagate a false taste. In the panels of the ceiling, and in other parts of the finishing of several of the rooms, there are sculptured representations of plants, correct imitations of nature, but without any architectural or artistical connexion with the framework of the panels; in fact, they appear as if they had been gathered and thrown down at random. These plants are beautifully executed, and they are botanically so accurate, that it is easy to tell their names, and in one or two instances they are introduced in the spandrils of arches, and in the windows, so as to fill their spaces up artistically. Wherever this is not the case, we have no hesitation in saying that their introduction is decidedly in bad taste. Every whole should consist of parts, every one of which should be so connected with those adjoining it, and with the rest, as not to admit of being separated without destroying the effect of the whole; but the flowers we speak of have no connexion whatever with any of the ornaments or parts around them. Supposing a person to have seen these ceilings before the flowers were introduced, he could never have felt the necessity of their introduction to complete the design; and, supposing them now to be removed, no one would feel that the design had been injured. The flowers are, indeed, beautiful in themselves, and would have retained that beauty any where; but this is quite a different question from that of their forming or not forming component parts of a composition. As an example of flowers and fruits artistically introduced, we may refer to the chimney-pieces and windows of the dining-room and drawingroom at Mamhead. These, more especially those in the chimney-pieces, are perfect in their kind, because their forms are artistically wrought in with the architecture; and though they are coloured so as to resemble nature, and even to be mistaken for it, which is in a low style of art, yet it is clear the artist knew what he was doing, and that he intended to represent the state of sculpture at the particular period to which he had adapted the building, a period when even representations of the human countenance in marble were coloured to resemble nature. The conservatory at Mamhead is much too small for the situation; but, considering the house as a villa, it is, perhaps, not altogether out of proportion. Part of the roof is opaque, which we were surprised at; because that part is completely concealed by the parapet, and the light would have been of essential importance to the plants.
