The Gorgeous Nothings at Chatsworth House
- Art - Culture - Tourism
- Aug 3
- 8 min read
By Marysia Zipser
3 August 2025
Nottingham
Photography by Marysia Zipser Click on images to enlarge
Setting the scene at Chatsworth. In July my friend and I made a day outing to this beautiful place. In fact I hadn’t visited Chatsworth for many years so was really looking forward to being inspired and uplifted by its greatness.
The long driveway that sweeps before and up to the grand house really sets the scene building up the excitement.
You see the house majestically placed behind the calm River Derwent, with grazing cattle and sheep beside it, luring you along the way making sure you, the visitor, is making the grandest entrance. (Photo credit right by Marianne Coxon).
All had been arranged for us to make our visit as smooth as possible. After parking our car and grabbing a coffee to drink/sit down, we walked to the golden gateway entrance where a small group of Chatsworth guides were standing and smiling as we approached. We passed through the gates and walked to the house entrance through the North Entrance Hall. Our tour began.
The Gorgeous Nothings - on until 5 October 2025. This exhibition was staged to dedicate to flowers, horticulture and the ongoing relationship that plants have had with the house, garden and its contents. Guest curator Allegra Pesenti explains that “The Devonshire Collections are at the source of this survey that stems from the rare botanical books and herbaria in the Chatsworth library and extends to the grounds and gardens that mark the estate’s compelling environment.” A living compendium of the natural world which continues to be nurtured today for the future.The exhibition takes its cue from the American poet Emily Dickinson’s habit of composing poems on scraps of paper and used envelopes. They were vital and mattered to her, not dissimilar to the specimens of ferns in a 19th century album. “The installations presented evoke the tenacity and focus of ‘gatherers’ - be it gardeners, scientists, archivists, artists, poets or collectors. Each flower is associated with deep-rooted and geographically diverse histories and myths.” Installation areas are named Mythology and Magic, Still Lifes, Gatherers, In Place and Out of Place, Sexuality and the Senses, Beauty and Horror, The Agony in the Garden, Permanence and Transience, A Flower is a Symbol plus a series of immersive films taking inspiration from the goddess Flora in a live trail through the garden and grounds.
The exhibited artists are: Eileen Agar, Ruth Asawa, Anna Atkins, Frank Bowling, Chiara Camoni, Dorothy Cross, Maurizio Fioravanti, Simryn Gill, Gluck, George Graham, Donna Huddleston, Elliott Hundley, Konstantin Kakanias, Michael Landy, Cecil Lasnet, Liza Lou, Jonas Mekas, Chris Ofili, Alessandro Piangiamore, Ana Prvacki, Elias Sime, Dorothea Tanning, Emma Tenant, David Wiseman
Throughout the house tour, I photographed a number of these artworks placed in the rooms and halls. All enhancing and enticing you into wonder.
The Things that bedazzled me…
The Painted Hall. This is the BIG impact welcome area. You can imagine arriving in your finery and being greeted by the Duke and Duchess in the largest and grandest room in the house. First impressions count! And built to flatter the new protestant monarch, King William III. William Cavendish 4th Earl of Devonshire was one of a company of Protestant loyalists, the Glorious Seven, who was instrumental in bringing William of Orange across from Holland to replace James II, a Roman Catholic, who had abdicated and fled to France. William was invited to be England’s joint ruler with his Consort Mary II, James’ elder daughter. For his loyalty, William Cavendish was granted the title of 1st Duke of Devonshire. The painted decoration interior has a Roman theme with scenes from the life of General Julius Caesar. The theme also includes the assassination of Caesar by members of the Senate on the north wall, possibly a reminder not to exceed his power. Between the windows are painted with large arrangements of arms and armour in the style of Roman trophies. The top of the staircase was designed to represent a Roman triumphal arch. You can imagine the fan fare trumpeters and soldiers in their' ceremonial plumed helmets.
You may wish to know that the land for the original Chatsworth was acquired in 1549 for £600.00 by Sir William Cavendish, 2nd husband of his wife Elizabeth, better known as Bess of Hardwick. The Tudor house itself was commenced in 1552 and was eventually rebuilt in the 1680’s by William Cavendish, the 4th Earl who died the 1st Duke of Devonshire.
The Grotto, an entirely stone space which supports the Great Stairs above, is enriched with applied carvings in Roche Abbey stone. The fountain here was originally fed by gravity with a supply of water from the moors above the house. Note the bas-relief of Diana at her bath.
Samuel Watson (1662–1715), an English sculptor in wood and stone, was a native of Heanor, Derbyshire. Watson was employed at Chatsworth between 1690 or 1691 and remained until 1711. He was greatly influenced by Grinling Gibbins and rose to be chief carver during his time in the great house. “Very fine... a most ingenious artist" his contemporary George Vertue commented. I certainly agree. I’d known very little about Watson before visiting Chatsworth and was enthralled to see his works in the Grotto and also in different areas of the house.
Images L-R. Fountain by Samuel Watson.
Maurizio Fioravanti featured artist (VAMGARD 2022). He dissolves the boundaries between magic and reality in a fantastical world of flowers and creatures. Details like tulip petals and butterfly wings are rendered pictorially with tiny tiles of glass. Fioravanti uses a technique known as micro-mosaic to create unique pieces of jewellery.
Lost Valley Mirror - David Wisema, 2019. Bronze and mirrored glass.
The ‘holiday snap’ paintings in the Oak Room. The unusual oak panelling was fitted between 1839 and 1841 for the 6th Duke. Inset into some of the wooden panels are small oil paintings. Some record the 6th Duke’s holidays, eight being of the north east coast of England, painted by John Watson Carmichael (1800-1868). The oak fittings were taken from a German monastery and the woodwork of an old-fashioned pew…
Chapel. Inspired by the Chapel at Windsor Castle and built between 1688 and 1693, remaining almost completely unaltered ever since. The altarpiece was constructed of alabaster quarried at Castlehayes near Tutbury, Staffordshire. Samuel Watson created the interior architectural decoration, Chatsworth’s master carver. The focal point of the altarpiece is the oil painting of The Incredulity of St Thomas by Antonio Verrio (1639-1707). The Royal Chapel at Windsor, painted by Verrior a few years earlier, served as the inspiration of this Chapel.
The Great Stairs. Completed in 1691, it is one of the earliest examples of a cantilevered staircase in England, providing grandeur when rising to the State Apartment
State Apartment and Great Chamber
Very lavish interiors and of the highest quality. Occupying the position of the Elizabethan Long Gallery of Bess of Hardwick’s House, they are usually placed on the second floor of the building, not the first floor as would be expected in the late 17th century.
Trompe d’oeil violin and marquetry in the State Music Room. Here is Chatsworth’s most famous works of art, the trompe l’oeil painting of a violin hanging on a door was placed inside the new opening in 1836. Painted by Jan van der Vaardt (c.1653-1727), it survived the disastrous fire that destroyed old Devonshire House, the family’s London residence in Piccadilly. I particularly noticed the incredible leather covered walls, stamped and gilded.
The Gucci Butterfly Dress. Walking out of the State Bedchamber and directly facing me was the Gucci Butterfly Dress. Wow! I had to take a closer look. The oyster pink gown was designed by Alessandro Michele for Gucci, specifically for Duchess Amanda. It was featured in the "House Style: Five Centuries of Fashion at Chatsworth" exhibition in 2017. The dress was inspired by the Devonshire Collection's herbariums and botanical illustrations, reflecting Michele's fascination with Chatsworth's history and the Duchess's collection of bug and butterfly brooches.
Portrait of Georgiana, Duchess of Devonshire, Thomas Gainsborough c1785-1787. This is such a striking and alluring portrait. I love it, and her. I found this to be a good read about Georgiana and her life. https://www.chatsworth.org/visit-chatsworth/chatsworth-estate/history-of-chatsworth/georgiana-cavendish-duchess-of-devonshire/
“...her youth, figure, flowing good nature, sense and lively modesty, and modest familiarity, make her a phenomenon” - English writer and politician, Horace Walpole (1717-1797), on Georgiana.
The State Bedchamber
The Oak Stairs. This part of the house was designed by Wyatville for the 6th Duke of Devonshire, Georgiana’s son, and constructed between 1818 and 1832. The staircase connects the Regency/William IV block to the earlier Baroque house and its purpose in the main was to house the 6th Duke’s sculpture collection. Here, the dome and lantern tower above provide light for these stairs and for the great array of family and royal portraits, ranging from the 1st Duke to the 11th Duke.
Library and Ante Library leading to the Great Dining Room. There are 17,000 books in the Library and Ante Library covering six centuries. The furniture in the library comes from many different family houses.
The dining room was used by the family whenever there were more than six people for dinner until the outbreak of World War II in 1939. Today it is used for a few exclusive formal dinners each year of up to forty people. The first dinner to have been held was for Princess Victoria and her mother the Duchess of Kent, who were guests of the 6th Duke in 1832. Victoria was thirteen years old and the first time she had dined formally in adult company.
Sculpture Gallery 1818-1834 including the Sleeping Lion. This amazing collection was created by the 6th Duke from 1818 to 1834. He had a passion for marble sculpture and the collection today remains one of the most important in the world still in its original location. Featuring works by John Gibson (1786-1866), Rudolph Schadow (1786-1822), Lorenzo Bartolini (1777-1850), Michael von Schwanthaler (1802-1848) and Bertel Thorvaldson (1770-1844). There are also six works by the celebrated sculptor Antonio Canova (1757-1822). The lions at the end of the gallery, which I love, are copies after Canova’s originals on the tomb of Pope Clement XIII (1693-1769) in St Peter’s in the Vatican. The 6th Duke so admired Canova that he even acquired the artist’s tools for sculpting clay models placing them on display.
Conclusion
So you can assume A LOT bedazzled me at Chatsworth! I wonder what bedazzled you the most, as visitors to the house? Have your say below in the Comments box together with any other comments and questions you have after reading this blog. And please share the blog as you wish using the social media icons. Thank you.
As you come out of the Sculpture Room you enter the impressive Shop which was once the Orangery. Today the Orangery Shop is one of four shops at Chatsworth selling a variety of gifts, souvenirs, garden and interior merchandise as well as a small outlet which sells products from the Chatsworth Estate Farm Shop. These other shops are located in the Stables.
I must comment about how extremely helpful all the guides were who we met during our tour. We had so many questions for them and they always gave fascinating and fullest answers. I learnt so much and on reaching back home, I avidly read the “Your Guide to Chatsworth” book in more detail and “The Gorgeous Nothings” exhibition leaflet. The guidebook provided me with nearly all the history reference material for the blog.
We were in the house from 11.00 am to 4.00 pm and we didn’t eat and drink anything until leaving the Orangery Shop and into the garden. Anyway, no one is allowed to tuck away any sandwich/ food/drink in their handbag; you are stopped at the entrance gate and warned of this. And no backpacks are to be worn on the back for safety reasons. Quite rightly so.
The beautiful gardens and parkland we will discover and enjoy on a separate day trip.
Sincere thanks to my friend Marianne Coxon, who is a guide at Hardwick Hall, and organised our visit together....and is a font of knowledge, of course!
Enjoy!
Marysia Zipser
Founder and ACT Ambassador
Beeston, Nottingham, UK
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Marysia Zipser's article is a captivating journey through Chatsworth House, blending historical grandeur with contemporary artistry. Her vivid descriptions, from the sweeping driveway to the intricate details of the Gorgeous Nothings exhibition, immerse the reader in the estate’s timeless elegance.
The thematic depth of The Gorgeous Nothings, inspired by Emily Dickinson’s poetic fragments and botanical heritage, is brilliantly conveyed. The interplay between rare books, herbaria, and modern installations (like Fioravanti’s micro-mosaics) underscores Chatsworth’s dynamic role as a living archive of nature and culture.
The Painted Hall’s Roman triumphs and the Grotto’s stonework reveal Zipser’s eye for storytelling, while her admiration for Samuel Watson’s carvings adds a personal touch. The trompe l’oeil violin and Gucci Butterfly Dress exemplify how Chatsworth bridges…