This narrow space is called the “Long Gallery”—for obvious reasons. There are many cases lining it, which contain rare books, letters, and personal objects related to artists and writers—as well as to presidents and royalty. The gallery includes objects from a lot of different times and places. 

I wanted to point out just a couple of things that are at the opposite end of this space from the stained glass window. Meet me at that end of the Long Gallery when you’re ready. 

Face the rectangular window at this end of the gallery. On your left, look for the painting of the Madonna, dressed in blue, holding the baby Jesus. A lovely young man—an angel—is with them. The work is by Sandro Botticelli, the Italian Renaissance master of delicate forms, and diaphanous fabrics. Just look at that transparent veil on the Madonna’s head! And now look at what Isabella placed just underneath the painting: that wonderful piece of Islamic glass. It’s a section of a 14th century mosque lamp. Its transparency—and the elegant gold and blue decorations—are perfect companions to the painting. In fact, the pseudo-writing on the Virgin’s gown was inspired by inscriptions on Islamic imports into Italy, like this glass lamp. The pairing is an example of the way Isabella loved to make cross-cultural combinations. Look for those kinds of connections in this gallery, in particular. 

Giving a tone of devotion to the space, is the huge stained glass window at the other end. It’s from Soissons Cathedral, in northern France. Take your time moving towards it—and, when you approach it, you’ll see that the area just in front of the window is actually a small consecrated chapel. Isabella was a devout Anglo-Catholic, and, in her lifetime, she used this little chapel for religious services. There’s still one held here every year. It’s on the date of Isabella’s birthday: April 14th.