Burning of Parliament (1834). The Palace of Westminster, a neo-gothic London landmark, houses the Parliament of the United Kingdom. While it does not contain a traditional art collection, the Palace boasts significant works of art within its walls. These include Tristan Joins Round Table (1866) by William Dyce and Plucking Roses in Old Temple Gardens (1910) by Henry Payne. The Palace also has a large mural by Daniel Maclise protraying the Battle of Trafalgar. A study for that mural is in the Walker Art Gallery. The Palace is on the previous site of Whitehall, which was destroyed by fire in 1698. A Canaletto painting from 1749 shows the Old Horse Guards and Banqueting House at Whitehall. In 1834 the original Westminster Palace building was also destroyed by fire. That event was protrayed by J.M.W. Turner in the 1835 paintings Burning of Houses of Lords and Commons (Cleveland Museum of Art) and Parliament Burning (Philadelphia Museum of Art). The palace currently serves as the meeting place for the British House of Commons and the House of Lords. In the 20th and 21st centuries, the representation of the Palace of Westminster in art has continued to evolve. Some artists have used the building as a symbol of political power and authority, while others have used it as a backdrop for more personal or abstract explorations. One notable example is a painting by the British artist Frank Auerbach, titled The Houses of Parliament, Summer Afternoon. The painting shows the Palace of Westminster from a distance, with its towers and spires barely visible through a haze of paint. The painting is more concerned with the play of light and color than with the building itself, reflecting a more abstract and experimental approach to representation. The Palace of Westminster in art has reflected the changing attitudes towards the building and its significance over time. From Canaletto's grand depictions of the medieval palace, to Turner's dramatic portrayal of its destruction, to Barry's proud representation of its Gothic Revival rebirth, to Auerbach's more abstract explorations, the Palace of Westminster has been a constant source of inspiration and fascination for artists throughout history. The blaze was caused by the burning of small wooden tally sticks which had been used as part of the accounting procedures of the Exchequer until 1826. The sticks were disposed of carelessly in the two furnaces under the House of Lords, which caused a chimney fire in the two flues that ran under the floor of the Lords' chamber and up through the walls. The resulting fire spread rapidly throughout the complex and developed into the biggest conflagration in London between the Great Fire of 1666 and the Blitz of the Second World War; the event attracted large crowds which included several artists who provided pictorial records of the event. The fire lasted for most of the night and destroyed a large part of the palace, including the converted St Stephen's Chapel, the meeting place of the House of Commons, the Lords Chamber, the Painted Chamber and the official residences of the Speaker and the Clerk of the House of Commons. The actions of Superintendent James Braidwood of the London Fire Engine Establishment ensured that Westminster Hall and a few other parts of the old Houses of Parliament survived the blaze. In 1836 a competition for designs for a new palace was won by Charles Barry. Barry's plans, developed in collaboration with Augustus Pugin, incorporated the surviving buildings into the new complex.