with the more natural design which would settle into the landscape. The latter was chosen and the final design of the house was based upon Downton Castle, but with an asymmetrical plan to experience the panoramic views around the house. It was Nash's first attempt at a Gothic castle design and he would subsequently create several further houses in the same style. The building was constructed of Portland stone, largely over two storeys but with a three-story octagonal tower between the two wings, as well as a square tower to the north above the porte-cochère. The walls feature castellated parapets, turrets and pinnacles, giving the building the feel of a castle in the gothic style. The building has an asymmetric feel, in a picturesque style, with varying shapes and elevations to different sections. The intent was to give a castle style to the building, reminiscent of historical fortresses, but with the comfortable interior of a house. On entrance through the porte-cochère, there is a circular hall with staircase hall to the right. To the left of the hall is the dining room, with windows at the end which give views over the park. Straight ahead from the hall is the drawing room, an octagonal room with book cases on four sides and with a white marble chimneypiece designed by John Flaxman, the only surviving chimneypiece by the sculptor. The windows of the drawing room provide a view towards the sea, with the upper sections of the windows containing stained glass. Prior to the addition of the chapel, the staircase hall contained an organ and stained glass window to give a similar feel. Throughout the ground floor there are painting by artists such as Loutherbourg, Thomas Lawrence, Alessandro Allori and Henry Thomson. When the house was completed in 1803, Charles Hoare spent £900 () on furnishing the building including pieces by Chippendale. In addition there were servants quarters and spaces on the ground floor, and a library in the north room on the second floor, as well as a sitting room over the octagonal drawing room. According to Repton, the design should allow ground floor rooms where the garden is visible and directly accessible, meaning that servants quarters needed to be placed in their own wing, but without prominence so as to maintain the hierarchy. In the south-east corner of the building there was a gothic loggia which was glazed in