the ground floor were enclosed. Although the house was built in the floor plan shape of the Letter E, in honour of Queen Elizabeth, it is now missing its north-west wing. During the period of the 9th Earl's ownership, and under the guidance of the famous landscape architect, Capability Brown, the south front was raised to alter the roof line, and the north-west wing was demolished to allow better views of the new parkland. A chimney-piece after the design of Venetian printmaker Giovanni Battista Piranesi was also added during his tenure. The so-called "Hell Staircase" and its neighbour "The Heaven Room" has substantial ceiling paintings by Antonio Verrio, between 1697 and 1699. The walls to the "Hell Staircase" are by Thomas Stothard, who completed the work about a century later. The Bow Room is decorated with wall and ceiling paintings by Louis Laguerre. Art collection Although depleted of a number of important pieces by death duties in the 1960s, the Burghley art collections are otherwise mainly intact and are very extensive. The house still displays several hundred paintings, a large proportion of which are of the 17th century, bought in Italy by John Cecil, 5th Earl of Exeter (–1700), and by Brownlow Cecil, the 9th Earl (1725–1793). They visited Italy eight times, bringing back large quantities of art. John Cecil purchased 300 works of art during his 22 years in Burghley and spent on his last visit to Europe £5,000 (c. £600,000 in 2017 currency). The chapel has a large altarpiece by Paolo Veronese and his workshop, and two large paintings by Johann Carl Loth, a German painter active in Venice with few works in British collections. There are in total seven works by Luca Giordano, including a self-portrait. In the Pagoda Room, there are portraits of the Cecil family, Elizabeth I, Henry VIII, and Oliver Cromwell. Many delicately painted walls and ceilings of the house were done by Antonio Verrio. The Billiard Room displays six oval portraits of members of the Order of Little Bedlam, the 5th Earl's drinking club. The large collection of Japanese export porcelain is especially important because, almost uniquely, pieces still in the house, and others sold in 1888 and 1959, can be identified with pieces in an inventory of the house with several hundred ceramic items made in 1688. These are the "earliest recorded pieces in Europe" that can be documented in this way,