From London to Land's End

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You ascend the great staircase at the upper end of the hall, which is very large; at the foot of the staircase you have a Bacchus as large as life, done in fine Peloponnesian marble, carrying a young Bacchus on his arm, the young one eating grapes, and letting you see by his countenance that he is pleased with the taste of them. Nothing can be done finer, or more lively represent the thing intended--namely, the gust of the appetite, which if it be not a passion, it is an affection which is as much seen in the countenance, perhaps more than any other. One ought to stop every two steps of this staircase, as we go up, to contemplate the vast variety of pictures that cover the walls, and of some of the best masters in Europe; and yet this is but an introduction to what is beyond them.

When you are entered the apartments, such variety seizes you every way that you scarce know to which hand to turn yourself. First on one side you see several rooms filled with paintings as before, all so curious, and the variety such, that it is with reluctance that you can turn from them; while looking another way you are called off by a vast collection of busts and pieces of the greatest antiquity of the kind, both Greek and Romans; among these there is one of the Roman emperor Marcus Aurelius in basso-relievo. I never saw anything like what appears here, except in the chamber of rarities at Munich in Bavaria.

Passing these, you come into several large rooms, as if contrived for the reception of the beautiful guests that take them up; one of these is near seventy feet long, and the ceiling twenty-six feet high, with another adjoining of the same height and breadth, but not so long. Those together might be called the Great Gallery of Wilton, and might vie for paintings with the Gallery of Luxembourg, in the Faubourg of Paris.

These two rooms are filled with the family pieces of the house of Herbert, most of them by Lilly or Vandyke; and one in particular outdoes all that I ever met with, either at home or abroad; it is done, as was the mode of painting at that time, after the manner of a family piece of King Charles I., with his queen and children, which before the burning of Whitehall I remember to hang at the east end of the Long Gallery in the palace.

This piece fills the farther end of the great room which I just now mentioned; it contains the Earl of Montgomery, ancestor of the house of Herbert (not then Earls of Pembroke) and his lady, sitting, and as big as life; there are about them their own five sons and one daughter, and their daughter-in-law, who was daughter of the Duke of Buckingham, married to the elder Lord Herbert, their eldest son. It is enough to say of this piece, it is worth the labour of any lover of art to go five hundred miles to see it; and I am informed several gentlemen of quality have come from France almost on purpose. It would be endless to describe the whole set of the family pictures which take up this room, unless we would enter into the roof-tree of the family, and set down a genealogical line of the whole house.