an axis, was connected by large double doors to create an enfilade. The first, largest and grandest room, known as the salon, was intended for a visiting dignitary to grant audience to the household, all of whom would be given access to this room. Then comes a large withdrawing room, slightly less grand; here the guest would receive people more privately than in the saloon. The next room followed the same pattern, each space becoming more intimate and private as the enfilade progressed. The final and most private room was the state bedroom: beyond this were two small closets for staff and private ablutions. This pattern of Baroque apartments exists in large houses all over England. In the very largest, such as Blenheim Palace, it could have two such suites branching from either side of the saloon, but Brympton d'Evercy was not such a grand house. Why it needed a suite of state apartments has never been settled. Often presumed is an intended visit by Queen Anne, but they were at the very least ten years old when she ascended the throne, and she certainly never made such a visit. The state bed remained in situ until 1956, but was never slept in by a sovereign. About 1720, such state rooms became old-fashioned and often transformed for more general and frequent use. At Brympton d'Evercy the saloon became the Drawing Room, the following room became known as the Oak or Small Drawing Room, and the next room the Dining Room. Only the state bedroom remained in solitary magnificence, slept in by honoured, if non-royal guests. At Brympton d'Evercy these were more likely to be talented cricketers than potentates. 19th-century works In the mid-19th century, Brympton d'Evercy was the home of Lady Georgiana Fane, the daughter of John Fane, 10th Earl of Westmorland, a single lady of modest means who had no need of a large and lavish household. The house was not given the Victorian wings added so carelessly to many historic houses. Lady Georgiana confined herself to improving the gardens and grounds. She added a balustrade to the walls enclosing the forecourt in front of the west facade; the walls, topped by balustrading, link the Priest House, the churchyard on the south side, and the clock-tower and stables on the north. The effect was to create what in a grander house than Brympton d'Evercy would be known as a