Peacock Room Mural (c1877). Mixed media. 200 x 400. Harmony in Blue and Gold: The Peacock Room is James McNeill Whistler's masterpiece of interior decorative mural art, located in the Freer Gallery of Art in Washington, DC. He painted the paneled room in a rich and unified palette of brilliant blue-greens with over-glazing and metallic gold leaf. Painted between 1876-77, it now is considered one of the greatest surviving aesthetic interiors, and best examples of the Anglo-Japanese style. The Peacock Room was originally designed as a dining room in the townhouse located at in the neighbourhood of Kensington in London, and owned by the British shipping magnate Frederick Richards Leyland. Leyland engaged the British architect Richard Norman Shaw to remodel and redecorate his home. Shaw entrusted the remodelling of the dining room to, another British architect experienced in the Anglo-Japanese style. Jeckyll conceived the dining room as a Porsellanzimmer. He covered the walls with 16th-century wall hangings of Cuir de Cordoue that had been originally brought to England as part of the dowry of Catherine of Aragon. They were painted with her heraldic device, the open pomegranate, and a series of red roses, Tudor roses, to symbolise her union with Henry VIII. They had hung on the walls of a Tudor style house in Norfolk for centuries, before they were bought by Leyland for E1,000. 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. 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, and covered by full-length walnut shutters. To the north a fireplace, over which hung the painting by American painter James McNeill Whistler, that served as the focal point of the room. The ceiling was constructed in a pendant panelled Tudor-style, and decorated with eight globed pendant gas light fixtures. To finish the room, Jekyll placed a rug with a red border on the floor. Jeckyll had nearly completed his decorative scheme when an illness compelled him to abandon the project. Whistler, who was then working on decorations for the entrance hall of Leyland's house, volunteered to finish Jeckyll's work in the dining room. Concerned that the red roses adorning the leather wall hangings clashed with the colours in The Princess, Whistler suggested retouching the leather with yellow paint, and Leyland agreed to that minor alteration. 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. During Leyland's absence however, Whistler grew bolder with his revisions. Well, you know, I just painted on. I went on without design or sketch it grew as I painted. And toward the end I reached such a point of perfection putting in every touch with such freedom that when I came round to the corner where I started, why, I had to paint part of it over again, as the difference would have been too marked. And the harmony in blue and gold developing, you know, I forgot everything in my joy in it. James McNeill Whistler Upon returning, Leyland was shocked by the improvements. Artist and patron quarrelled so violently over the room and the proper compensation for the work that the important relationship for Whistler was terminated. At one point, Whistler gained access to Leyland's home and painted two fighting peacocks meant to represent the artist and his patron, and which he titled. Whistler is reported to have said to Leyland, Ah, I have made you famous. My work will live when you are forgotten. Still, per chance, in the dim ages to come you will be remembered as the proprietor of the Peacock Room. The dispute between Whistler and Leyland did not end there. In 1879, Whistler was forced to file for bankruptcy, and Leyland was his chief creditor at the time. When the creditors arrived to inventory the artist's home for liquidation, they were greeted by, a large painted caricature of Leyland portrayed as an anthropomorphic demonic peacock playing a piano, sitting upon Whistler's house, painted in the same colours featured in the Peacock Room. He referenced the incident again in his book, The Gentle Art of Making Enemies. Adding to the emotional drama was Whistler's fondness for Leyland's wife, Frances, who separated from her husband in 1879.