They were painted with her heraldic device, the open pomegranate, and a series of red Tudor roses to symbolize her union with Henry VIII.

[6][7][5] Against these walls, Jekyll constructed an intricate lattice framework of engraved spindled walnut shelves that held Leyland's collection of Chinese blue and white porcelain, mostly from the Kangxi era of the Qing dynasty.

[5][7] To the south of the room, a walnut Welsh dresser was placed in the centre, just below the large empty leather panel, and flanked on both sides by the framework shelves.

On the east side, three tall windows parted the room overlooking a private park,[5] and covered by full-length walnut shutters.

[7] To the north a fireplace, over which hung the painting by American painter James McNeill Whistler, Rose and Silver: The Princess from the Land of Porcelain,[3] that served as the focal point of the room.

[2] He also authorised Whistler to embellish the cornice and wainscoting with a "wave pattern" derived from the design in Jeckyll's leaded-glass door, and then went to his home in Liverpool.

[8] At one point, Whistler gained access to Leyland's home and painted two fighting peacocks meant to represent the artist and his patron, which he titled Art and Money: or, The Story of the Room.

[11] Another result of this drama was Jeckyll who, so shocked by the first sight of his room, returned home and was later found on the floor of his studio covered in gold leaf; he never recovered and died insane three years later.

[2] Filthy Lucre, an installation by contemporary artist Darren Waterston, replicates The Peacock Room in a state of decay and disrepair.