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The Peacock Room
  The Peacock Room was once the dining room in the London home of Frederick R. Leyland In his patron's absence, Whistler was inspired to make bolder revisions. Yet Whistler entertained visitors and amused the press in the lavishly decorated room, never thinking to ask permission of the owner of the house. Perhaps in retaliation, Whistler took the liberty of coating Leyland's valuable leather with Prussian-blue paint and depicting a pair of peacocks aggressively confronting each other on the wall opposite The Princess. Despite the controversy surrounding its creation, Leyland kept his dining room as Whistler had left it and continued filling the shelves with porcelain until his death in 1892. After Freer's death in 1919, the Peacock Room was transported to Washington, D.C. and installed in the new Freer Gallery of Art. As a further step toward restoring harmony to the Peacock Room, the Freer Gallery has collected examples of Chinese blue-and-white porcelain similar to those for which the room was designed. Go to the next page

The Peacock Room was once the dining room in the London home of Frederick R. Leyland, a wealthy shipowner from Liverpool, England. It was originally designed by a gifted interior architect named Thomas Jeckyll. To display Leyland's prized collection of Chinese porcelain to best advantage, Jeckyll constructed a lattice of intricately carved shelving and hung antique gilded leather on the walls. A painting by James McNeill Whistler (1834-1903) called La Princesse du pays de la porcelaine — or The Princess from the Land of Porcelain — occupied a place of honor above the fireplace.

Jeckyll had nearly completed his commission when he consulted Whistler — who was then working on decorations for the entrance hall of Leyland's house — about the color to paint the dining room shutters and doors. Concerned that the red roses on the leather hangings clashed with the colors in The Princess, Whistler volunteered to retouch the walls with traces of yellow. Leyland permitted Whistler to make that minor alteration and also to adorn the wainscoting and cornice with a "wave pattern" derived from the design on the leaded glass of the pantry door. Assuming the decoration of the room to be virtually complete, Leyland went back to his business in Liverpool.

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