The interior is one large room, divided into two chambers width-wise with counterbalanced, sliding wooden partitions through the middle of both floors.
Two later black marble mantels are in the reception room, which has a carved Louis XVI-style wooden screen supported by four Corinthian columns.
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In 1894, in an article in The Studio, he proposed a design having a high central hall with a galleried inglenook between the drawing and dining rooms and separated from them by folding screens.
During the Heian period (794–1185), for example, wooden or metal pairs were employed as weights and door-stops, while at the Imperial Palace they were used to support screens or folding screens.