George Henry Francis, an English journalist, a resident of Munich at that time, and afterwards editor of the _Morning Post_, contributed the following account of Lola's manner of life at this period to _Fraser's Magazine_ for January 1848:--
"The house of Lola Montez at Munich presents an elegant contrast to the large, cold, lumbering mansions, which are the greatest defect in the general architecture of the city. It is a _bijou_, built under her own eye, by her own architect,[16] and it is quite unique in its simplicity and lightness. It is of two storeys, and, allowing for its plainness, is in the Italian style. Elegant bronze balconies from the upper windows, designed by herself, relieve the plainness of the exterior; and long, muslin curtains, slightly tinted, and drawn close, so as to cover the windows, add a transparent, shell-like lightness to the effect. Any English gentleman (Lola has a great respect for England and the English) can, on presenting his card, see the interior; but it is not a 'show place.' The interior surpasses everything, even in Munich, where decorative painting and internal fitting has been carried almost to perfection. We are not going to write an upholsterer's catalogue, but as everything was done by the immediate choice and under the direction of the fair Lola, the general characteristics of the place will serve to illustrate her character. Such a tigress, one would think, would scarcely choose so beautiful a den. The smallness of the house precludes much splendour. Its place is supplied by French elegance, Munich art, and English comfort. The walls of the chief room are exquisitely painted by the first artists from the designs found in Herculaneum and Pompeii, but selected with great taste by Lola Montez. The furniture is not gaudily rich, but elegant enough to harmonise with the decorations. A small winter room, adjoining the larger one, is fitted up, quite in the English style, with papered walls, sofas, easy-chairs, all of elegant shape. A chimney, with a first-rate grate of English manufacture, and rich, thick carpets and rugs, complete the illusion; the walls are hung with pictures, among them a Raphael. There are also some of the best works of modern German painters; a good portrait of the King; and a very bad one of the mistress of the mansion. The rest of the establishment bespeaks equally the exquisite taste of the fair owner. The drawing-rooms and her boudoir are perfect gems. Books, not of a frivolous kind, borrowed from the royal library, lie about, and help to show what are the habits of this modern Amazon. Add to these a piano and a guitar, on both of which she accompanies herself with considerable taste and some skill, and an embroidery frame, at which she produces works that put to shame the best of those exhibited for sale in England; so that you see she is positively compelled at times to resort to some amusement becoming her sex, as a relief from those more masculine or unworthy occupations in which, according to her reverend enemies, she emulates alternately the example of Peter the Great and Catharine II. The rest of the appointments of the place are in keeping: the coach-house and stabling (her equipages are extremely modest and her household no more numerous or ostentatious than those of a gentlewoman of means), the culinary offices, and an exquisite bath-room, into which the light comes tinted with rose-colour. At the back of the house is a large flower-garden, in which, during the summer, most of the political consultations between the fair Countess and her sovereign are held.