scale and of such sophistication surviving from the late 1630s." A collection of 17th century copies of Old Master paintings in their original carved frames hangs on the staircase wall. Two were copied from originals in the collection of Charles I: Venus with Mercury and Cupid (The School of Love) by Correggio at the base of the stairs (the original in the National Gallery, London), while on the first floor landing there is a copy of The Venus Del Pardo (Venus and a Satyr) by Titian (the original in the Louvre, Paris). Round Gallery Before the upward expansion of the Great Hall this room had served as the Great Dining Room, as created by William Murray in the 1630s. The ornate white plasterwork ceiling was created by Joseph Kinsman, master craftsman and member of the London Plasterers' Company. Engaged by the Royal Works at Goldsmith's Hall, Whitehall and Somerset House, he was employed by William Murray at Ham House during the 1637 renovation and creation of the State Apartments. The ceilings at Ham are the only surviving example of his work, showing the influence of Inigo Jones in their design of deep beams with rosettes at the intersections, enclosing geometric compartments. The white plaster high relief oval swags of luscious fruit, flowers and ribbons, including the odd worm, contrasted with the elaborate frieze which was originally coloured blue and gold. Notable paintings include Peter Lely's final portrait of Elizabeth, painted c. 1680, and the earlier double portrait, John Maitland, Duke of Lauderdale and Elizabeth Murray, Countess of Dysart and Duchess of Lauderdale painted by Lely c. 1675. North Drawing Room After dinner in the adjacent dining room, guests would have retired to the North Drawing Room for conversation. This room was decorated at the same time as the Great Dining Room, and was later hung with tapestries. Kinsman continued his elaborate plasterwork in the white ceiling in this room. Deep beams enclose rectangles bursting with individually crafted fruit and flowers. The hemispherical rosettes at the intersections are unusual, possibly unique. A notable piece of furniture in this room is the ivory cabinet: veneered in rippled ivory panels on the exterior and the interior, this large oak and cedar cabinet opens to reveal 14 drawers. An inner door conceals small drawers, further secret drawers and a compartment. It was recorded as being moved to the prestigious Queen's Bedchamber shortly after its