Wyndham's now seats 769, but when it opened it accommodated about 1,200 people: 540 on satin-upholstered tip-up chairs, the rest on undivided pit and gallery benches. To accentuate the intimacy, a boudoir version of Louis XVI was chosen. The ceiling paintings were a Jin de siecle rendering of Boucher. The picture-frame proscenium, one of the last of its kind remaining in London, is surmounted by a bust which is reputedly of Mary Moore, Charles Wyndham's leading lady and later his wife. She is flanked by various admirers: Sheridan, Goldsmith and two winged adolescents. The plaster palm fronds were apparently insufficient for the Wyndham family, who suburbanized Sprague's meticulous finish with a few potted specimens, both in the auditorium and in the saloon.

In: Glasstone, Victor: Victorian and Edwardian Theatres: An Architectural and Social Survey. Harvard 1975 p. 103

autor: Victor Glasstone