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(He was so obsessed with them, in fact, that he commissioned the trompe l’oeil artist Eloïse d’Argent to create a narrative sequence of Delft tiles that now spins its tale on the Salon Jaune’s fireplace wall, and brings even more light into the room when the fireplace is roaring.)

The yellow drawing-room windows, meanwhile, are hung with a silver and buff African-inspired glazed cotton that Galliano worked on with Fortuny, and the main bedroom is hung and curtained with a chintz from Antoinette Poisson that evokes the blue-and-white azulejos tiles that Galliano admired in Portuguese gardens and houses.

The dining room, with wide, tapestry-seated Louis Quinze chairs drawn up to the circular table and portraits of toucans and parrots (and earnest early-19th-century children) on the cool blue walls, has taffeta curtains in an antique pale yellow and blue stripe tied back with rosettes scrunched from the same fabric, all based on examples in 18th-century upholsterers’ manuals-along with those in Pauline de Rothschild’s fabled London apartment, which was designed with John Fowler himself.

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