bars allowing for ventilation, while remaining sound proof and free from vibration. The internal walls consist of "hollow, porous, terra-cotta blocks" covered with plaster, and the hotel's flooring was also made fireproof. At the corners of the pavilion roofs of the Ritz are large green copper lions, the emblem of the hotel. Interior The hotel was designed mainly by London and Paris based designers in the Louis XVI style, which is consistent throughout, giving the hotel its "special atmosphere of perfect appropriateness and elegant restraint". Marcus Binney describes the great suite of ground-floor rooms as "one of the all-time masterpieces of hotel architecture" and compares it to a royal palace with its "grand vistas, lofty proportions and sparkling chandeliers". Waring & Gallow were responsible for many of the fine design work of the interiors The ground floor plan dated to 1906 illustrated a large main restaurant overlooking the terrace and garden, a large central Grand Gallery and Winter Garden, a circular vestibule beyond the reception room, the Marie Antoinette Suite near the restaurant, and numerous shops. The Grill Room had its own entrance on the right side of the entrance doors on Piccadilly, with a staircase leading down. The Grill Room was on the eastern side, and the Banqueting Hall lay at the western end, beneath the restaurant. Today this is home to the Ritz Club. A wide vaulted corridor, the Long Gallery, runs from the Arlington Street entrance on the east side to the restaurant on the west side, with finely woven Savonnerie carpets. Along it are several intricate horseshoe archways. A triangular-shaped staircase features in the building's southwest corner. The curving main staircase was built to allow women to make a "dramatic entrance and show off their gowns to best effect". The Palm Court The Ritz's most widely known facility is the Palm Court, an opulently decorated cream-coloured Louis XVI setting. It is decorated with lavish furnishings, including gilded Louis XVI armchairs with oval backs, which the architects had designed based on research into French neo-classical furniture design of the 1760s and 1770s, which were made by Waring and Gillow. The room, with its, "panelled mirrors of bevelled glass in gilt bronze frames" and "high coving ornamented with gilded trellis-work", according to Montgomery-Massingberd and Watkin "epitomizes the elegantly frivolous comfort of Edwardian high life". There were originally large windows at either end of the court, then known as