was one of the vociferous opponents of the refacing. A letter he wrote published in the Norwich Mercury in August 1830 referred to the "scandalous re-facing of the ancient keep". Although Daniell was living in London during this period, letters to his friends the artist Henry Ninham and the botanist Dawson Turner reveal the extent of his opposition. In a letter to Turner, Daniell wrote, "I have had a very beautiful drawing made of it, and I mean to etch it the size of the drawing. I can only say that if my etching be half as much like the castle, or half as good as the drawing, it will be more like, than anything yet done, of that very beautiful relic." To Ninham he wrote, "Show me by a plan, how high they have got pulling down, and enable me to judge whether even now in the eleventh hour, any good can be done; and I in return will just inform you, how I stand with regard to my plate. It stands precisely as it did when I left Norwich." His etching of the old keep, however, was never completed. Norwich Castle Museum and Art Gallery The castle remains a museum and art gallery and still contains many of its first exhibits. The museum's fine art collection includes costumes, textiles, jewellery, glass, ceramics and silverware, and a large display of ceramic teapots. The fine art galleries feature works by the early 19th century Norwich School of painters as well as English watercolour paintings, Dutch landscapes and modern British paintings from the 17th to 20th centuries. The castle also houses a good collection of the work of the Flemish artist Peter Tillemans. Other galleries include Boudica and the Romans, the Anglo-Saxons (including the Harford Farm Brooch) and Natural History which displays the Fountaine–Neimy butterfly collection. An unusual artefact is the needlework by Lorina Bulwer at the turn of the twentieth century whilst she was confined in a workhouse. The work has featured on BBC television. Exhibit highlights The Paston Treasure is a painting commissioned around 1663 either by Sir William Paston (1610–1663), or by his son Robert (1631–1683). The identity of the artist is unknown, however it is likely that it was a Dutch artist working in a studio at the principal residence of the Pastons at Oxnead. The artwork can be placed within the mid-seventeenth century Dutch still life