Editing Blenheim Palace (section)

== Interior ==
[[File:Blenheim palace, Oxfordshire (19001949811).jpg|thumb|left|upright|Great Hall ceiling, The Duke of Marlborough presenting the plan for the battle of Blenheim to [[Britannia]], painted 1716 for £978 by Sir James Thornhill]]
[[File:Blenheim Palace Chapel.jpg|thumb|right|upright|Tomb of the 1st Duke of Marlborough in the palace chapel 1733, cost £2,200 designed by [[William Kent]] sculpted by [[John Michael Rysbrack]]]]
[[File:Blenheim Ceiling 2017.jpg|thumb|left|upright|The Triumph of the Duke of Marlborough, Saloon ceiling c.1720 by Louis Laguerre]]
[[File:Blenheim Palace 6-2008 3.jpg|thumb|right|Library by Nicholas Hawksmoor 1722–1725, with pipe organ at the far end 1890–1891]]
[[File:Blenheim Palace, interior 06.jpg|thumb|left|upright|Saloon with murals c.1720 cost £500 by Louis Laguerre]]
[[File:ENG Woodstock Blenheim Palace 034.jpg|thumb|left|upright|The Temple of Diana 1772–1773 by Willam Chambers]]
The internal layout of the rooms of the central block at Blenheim was defined by the court [[etiquette]] of the day. State apartments were designed as an axis of rooms of increasing importance and public use, leading to the chief room. The larger houses, like Blenheim, had two sets of state apartments each mirroring each other. The grandest and most public and important was the central saloon ''("B" in the plan'') which served as the communal state dining room. To either side of the saloon are suites of state apartments, decreasing in importance but increasing in privacy: the first room ''("C")'' would have been an [[audience]] chamber for receiving important guests, the next room ''("L")'' a private withdrawing room, the next room ''("M")'' would have been the bedroom of the occupier of the suite, thus the most private.<ref name=floorplan>{{cite web|url=https://cdn.thehandbook.com/app/uploads/2014/10/Blenheim-Floor-Plans.pdf|title=Blenheim Palace: Floorplans|access-date=29 July 2018|archive-date=30 July 2018|archive-url=https://web.archive.org/web/20180730020956/https://cdn.thehandbook.com/app/uploads/2014/10/Blenheim-Floor-Plans.pdf|url-status=dead}}</ref>

One of the small rooms between the bedroom and the internal courtyard was intended as a dressing room. This arrangement is reflected on the other side of the saloon. The state apartments were intended for use by only the most important guests such as a visiting sovereign. On the left (east) side of the plan on either side of the bow room ''(marked "O")'' can be seen a smaller but nearly identical layout of rooms, which were the suites of the Duke and Duchess themselves. Thus, the bow room corresponds exactly to the saloon in terms of its importance to the two smaller suites.<ref name=floorplan/>

Blenheim Palace was the birthplace of the 1st Duke's famous descendant, [[Winston Churchill]], whose life and times are commemorated by a permanent exhibition in the suite of rooms in which he was born ''(marked "K" on the plan)''. Blenheim Palace was designed with all its principal and secondary rooms on the ''piano nobile'', thus there is no great staircase of state: anyone worthy of such state would have no cause to leave the ''piano nobile''. Insofar as Blenheim does have a grand staircase, it is the series of steps in the Great Court which lead to the North Portico. There are staircases of various sizes and grandeur in the central block, but none are designed on the same scale of magnificence as the palace. [[James Thornhill]] painted the ceiling of the hall in 1716. It depicts Marlborough kneeling to [[Britannia]] and proffering a map of the Battle of Blenheim. The hall is {{convert|67|ft|m|abbr=on}} high, and remarkable chiefly for its size and for its stone carvings by [[Grinling Gibbons|Gibbons]], yet in spite of its immense size it is merely a vast [[Antechamber|anteroom]] to the saloon.<ref name=floorplan />

The saloon was also to have been painted by Thornhill, but the Duchess suspected him of overcharging, so the commission was given to [[Louis Laguerre]]. This room is an example of three-dimensional painting, or ''[[Trompe-l'œil|trompe l'œil]]'', "trick-the-eye", a fashionable painting technique at the time. The [[Treaty of Utrecht|Peace Treaty of Utrecht]] was about to be signed, so all the elements in the painting represent the coming of peace. The domed ceiling is an allegorical representation of Peace: John Churchill is in the chariot, he holds a zigzag thunderbolt of war, and the woman who holds back his arm represents Peace. The walls depict all the nations of the world who have come together peacefully. Laguerre also included a self-portrait placing himself next to Dean Jones, chaplain to the 1st Duke, another enemy of the Duchess, although she tolerated him in the household because he could play a good hand at cards. To the right of the doorway leading into the first stateroom, Laguerre included the French spies, said to have big ears and eyes because they may still be spying. Of the four marble door-cases in the room displaying the Duke's [[crest (heraldry)|crest]] as a prince of the [[Holy Roman Empire]], only one is by Gibbons, the other three were copied indistinguishably by the Duchess's cheaper craftsmen.<ref name=floorplan />

The third remarkable room is the long library designed by [[Nicholas Hawksmoor]] in 1722–1725, ''(H)'', {{convert|183|ft|m|abbr=on}} long, which was intended as a picture gallery. The ceiling has [[saucer dome]]s, which were to have been painted by Thornhill, had the Duchess not upset him. The palace, and in particular this room, was furnished with the many valuable artefacts the Duke had been given, or sequestered as the [[Prize of war|spoils of war]], including a fine art collection. Here in the library, rewriting history in her own indomitable style, the Duchess set up a larger than life statue of Queen Anne, its base recording their friendship.<ref name=floorplan />

From the northern end of the library—in which is housed the largest pipe organ in private ownership in Europe, built by England's great organ builder [[Henry Willis & Sons]]—access is obtained to the raised [[colonnade]] which leads to the chapel ''(H)''. The chapel is perfectly balanced on the eastern side of the palace by the vaulted kitchen. This symmetrical balancing and equal weight given to both spiritual and physical nourishment would no doubt have appealed to Vanbrugh's renowned sense of humour, if not the Duchess'. The distance of the kitchen from even the private dining room ''("O" on the plan)'' was obviously of no consideration, hot food being of less importance than to avoid having to inhale the odour of cooking and proximity of servants.<ref name=floorplan />