the entrance and the mansion is a spacious and quiet garden. The back of the garden is a Renaissance garden, while the front is a formal and symmetrical French garden with a large pond and a fountain. Most of the time there is an exhibition of statues. Going up the stairs to the main floor of the museum, there are four rooms open to the public. The Blue room in a Louis XVI or neo-classical style has an ensemble of five wallpaper panels, painted around 1788 by Egbert van Drielst. Van Drielst was a romantic painter, who in his style was influenced by Meindert Hobbema and Jacob van Ruisdael. On all the panels nature is idealized, the horizon is on eyeheight. Originally the panels were designed for a house on the Keizersgracht, then decorating a room in New York and Miami, but since 1990 they are back. On the chimney are two porcelain jars from the factory of Joannes de Mol. The Red Room is decorated in either a Louis XV or a neo-Rococo style. The high ceiling and the fixed mirrors are impressive. There are six 17th-century paintings in this room: a Flamish fantasy landscape with tree, game and birds by Gillis d'Hondecoeter; also depicting Christ healing the blind. Further there is still life with flowers but without a saint by Daniel Seghers, a Jesuit from Antwerp, a flashy still life by Pieter de Ring, a seascape by Hans Goderis and a winterscape by Antonie van Stralen. On the table is an interesting piece of Kraak porcelain. The ceiling in the library is in a neo-classical style, resembling the work of the Scottish architect and interior decorator Robert Adam. Adam, was inspired by the Domus Aurea in Rome and the palace of Diocletian in Split. In the hall one can see a tapestry, made in Brussels around 1600, depicting Cyrus the Great and the rich Croesus, after his defeat and the revolt of the citizens. The story comes from Herodotus, (book I: 155). The carton was designed by Michiel Coxcie, the Flemish Raphael, and the original belongs to the Spanish royal family. The Chinese Room has eight Rococo wallpaper panels on canvas with fantasy flowers and birds, vegetables and chinoiserie, made somewhere between the years 1765–1775. The artist, working in the cuir de Cordoue manufacture of in Brussels, perhaps used engravings by Jean-Baptiste Pillement, then famous for his Chinoiserie.