This is the sort of building which is here traditionally adopted, and which probably was the old form, when the father of the present prince rebuilt the castle, not in the best, but still in tolerable taste. But the present possessor, without abandoning the general features of this style, gave free course to his humour and passion for the most ill-shapen and tasteless of erections. One would do him too much honour by giving him credit for even one spark of taste.
We entered, therefore, the great hall, which stands at the beginning of the property, and found ourselves in an octagonal room, of a breadth altogether disproportioned to its height. Four vast giants with modern splatterdashes, which had just been buttoned on, support the cornice, on which, directly meeting the eye as you enter, is a representation of the Holy Trinity.
The passage to the castle is broader than usual, the wall being converted into one continuous high socle; from which basement the strangest groups possible reach to the top, while in the spaces between them several vases are placed. The ugliness of these unshapely figures (the bungling work of the most ordinary mason) is increased by their having been cut out of a very crumbly muscheltufa; although, perhaps, a better material would have made the badness of the form still more striking to the eye. I used the word "groups" a moment ago; but I have employed a wrong term, inappropriate in this place. For they are mere juxtapositions, determined by no thought, but by mere arbitrary caprice. In each case three form the ornament of a square pedestal, their bases being so arranged as to fill up the space by their various postures. The principal groups have generally two figures, which occupy the chief face of the pedestal, and then two are yet wanting to fill up the back part of the pedestal. One of a moderate
