Ilijengwa mwaka 1866, Nambari 238 ina ghorofa tano juu ya sehemu ya chini ya jengo. Ina takribani futi za mraba 4,600 kwenye kiwanja chenye upana wa futi 19 na urefu wa futi 100, facade mpya iliyorejeshwa yenye rangi ya chokaa, na lifti yenye paneli inayohudumia kila kiwango. Mapambo ya ndani yaliathiriwa na mkazi wake wa miaka ya 1960, Pierre Scapula, mbunifu wa Paris ambaye kazi zake zilijumuisha mapambo ya ndani ya boti za kifahari za Stavros Niarchos na nyumba za Princess Lee Radziwill huko New York na Paris. Scapula ndiye aliyehusika na mandhari ya Kifaransa tunayoiona katika nyumba hii leo. Baadaye, nyumba hiyo ikawa makazi ya New York ya mwakilishi wa kwanza wa Umoja wa Ulaya katika Umoja wa Mataifa. Kwa sasa imerejeshwa kwa kiwango cha ubora wa makumbusho, kwa kuzingatia mtindo wa karne ya kumi na nane.

Unapoingia, unakaribishwa na mfuatano wa vyumba unaohitajika katika usanifu wa kawaida wa nyumba za mjini: Chumba cha Kuingilia, Saluni Kubwa na Chumba cha Mazungumzo.

Kwanza, unaingia kwenye Foyer yenye ukubwa wa chumba kizima, inayotoa ufikiaji wa nyumba nzima kupitia lifti huku ikihakikisha faragha kwa ghorofa nyingine. Hapa, mapambo ya paneli ni sahili, yakiwa yameigwa kutokana na Guard Hall iliyo nje ya sehemu binafsi ya Louis XV huko Versailles, huku muundo wa sakafu ya marumaru, sanduku la bombé, vioo na taa za ukutani vyote vikiwa vinaendana na kipindi hicho. Kabati la wageni na Chumba cha Dhahabu na Oniksi cha Kujipambia, kilichoundwa kwa mtindo wa Rococo wenye mvuto mkubwa, vinafunguka kutoka humo.

Kisha, unapanda ngazi pana ambayo haijazungushiwa kuta kikamilifu, hivyo kuruhusu muunganiko wa kuona kutoka sehemu ya chini hadi kwenye vioo na chandelier ya kioo ya Saluni Kubwa. Hapa kuna dari zenye urefu wa futi kumi na mbili, pamoja na paneli na jiko la moto vya mtindo wa Île-de-France vyenye umri wa miaka mia tatu, vyote vililetwa kutoka Ufaransa na Scapula. Jiko la kuni linafanya kazi. Kioo kikubwa cha trumeau kina mchoro wa Nicolas Lancret (1690–1742), na chandelier ya kale ya kioo iliyowekewa umeme ilitoka katika makazi ya Baroness Albuquerque huko Dakota. Milango miwili ya Kifaransa inafunguka kuelekea kwenye roshani inayoangalia utulivu wa bustani. Sakafu ya Parquet de Versailles, samani za kale na mfumo wa sauti uliojengeka ndani vinakamilisha chumba hiki cha kipekee.

Kinachopakana nacho ni Chumba cha Mazungumzo, ambacho Scapula alikipamba kama Salle de Glace, au chumba cha vioo, ambapo alinakili mtindo uliopendwa katika karne ya kumi na nane kwa kutumia paneli zenye uwiano halisi na mapambo ya ukingo wa majani ya dhahabu. Rafu za vitabu zilizofungwa, vifaa vya taa vya shaba vilivyopambwa kwa dhahabu na dawati kubwa vinawezesha sehemu hii kutumika kama ofisi, maktaba au eneo la ziada la kuwakaribisha wageni.

Ghorofa moja juu kuna Chumba Kikuu cha Kulala, kilichopambwa kwa mwaloni wa Kifaransa wenye umaliziaji wa au cappuccine. Jiko la moto la Kifaransa lililoagizwa kutoka nje limepambwa juu yake kwa mural ya kitambaa yenye umri wa zaidi ya miaka mia moja, “Ujenzi wa Jukwaa la Warumi,” ambayo mmiliki wa kwanza wa Nambari 238 aliileta New York kutoka safari yake ya fungate. Kuna kabati mbili za kuingia ndani na sehemu za kuhifadhia zilizojengwa ndani, na pembeni kuna bafu la marumaru nyeupe ya Carrara lenye beseni la kulowea lenye urefu wa futi sita na masinki mawili.

Katika ghorofa hiyo hiyo, upande wa mbele wa jengo, kuna Chumba cha Wageni, kilichopambwa kwa mtindo wa Chambre de Parade ndogo na kinachojulikana kwa mapazia ya kitanda na paneli zake. Kuta zimefunikwa kwa hariri ya Scalamandré, na chumba kimewekewa samani za mtindo wa Louis XV. Bafu lake la ndani lenye dirisha limekamilishwa kwa marumaru ya kijani kibichi na sinki kubwa adimu la kujipambia lililotengenezwa kwa marumaru ya zambarau, huku bafu la kujivalisha likiwa na makabati na sehemu za kuhifadhia zilizojengwa ndani.

Ghorofa iliyo juu yake kuna chumba cha kulala kilichopambwa kwa mtindo wa Venice kinachoangalia bustani, kikiwa na jiko la moto, madirisha matatu yanayofunguka kwa kuinuliwa na kugeuzwa, chumba cha kujivalisha chenye sinki jeupe la kujipambia pamoja na vifaa na miguu ya dhahabu, kabati la kuingia ndani, na bafu lililokamilishwa kwa aina tano za marumaru. Upande wa mbele kuna sehemu ya wafanyakazi yenye vyumba viwili na bafu, ambayo inaweza kutenganishwa na sehemu nyingine ya nyumba na kufikiwa kwa lifti. Hata hapa kuna maajabu mengi: sehemu ya kichwa cha kitanda ni sanamu ya shaba ya ubora wa juu ambayo sasa inaonekana kana kwamba ilitoka kwenye paneli ya juu ya mlango ya facade ya kaskazini ya Grand Central Terminal, iliyobomolewa zamani.

Hatimaye, penthouse ya ghorofa ya tano, iliyoundwa kwa mtindo wa kisasa wa katikati ya karne, tofauti kabisa na sehemu nyingine ya th

Built in 1866, Number 238 rises five stories over a cellar. It has approximately 4,600 square feet on a 19 by 100-foot lot, a newly restored limestone-toned facade, and a paneled elevator serving every level. Its interiors were shaped by its 1960s occupant, Pierre Scapula, the Parisian designer whose commissions included yacht interiors for Stavros Niarchos and the New York and Paris homes of Princess Lee Radziwill. Scapula is responsible for the French ambiance we see in the house today. Later, the house became the New York residence of the first European Union Representative to the United Nations. At present it is restored to museum quality standard in the spirit of the eighteenth century.

Upon entering you are greeted by the sequence of rooms mandatory to classic townhouse architecture: Anteroom, Grand Salon and Drawing Room.

First, you arrive at the room-size Foyer, which provides access to the whole house by elevator while assuring privacy to the other floors. Here the paneling is simple, patterned after the Guard Hall outside the Louis XV private suite at Versailles, and the marble flooring pattern, the bombé chest, the mirrors and the sconces are all appropriate to the period. A guest closet and the Gold and Onyx Powder Room, in the flamboyant Rococo style, open off it.

Next, you ascend the wide stairway, which is not fully enclosed by walls and allows a visual connection from the space below to the mirrors and crystal chandelier of the Grand Salon. Here are twelve-foot ceilings and three-hundred-year-old Île-de-France style paneling and a fireplace, both brought from France by Scapula. The woodburning fireplace works. The large mirror trumeau contains a painting by Nicolas Lancret (1690-1742), and the electrified antique crystal chandelier came from the residence of the Baroness Albuquerque in the Dakota. Twin French doors open to a balcony overlooking the tranquility of the garden. Parquet de Versailles flooring, antique furnishing and an integrated sound system complete this exceptional room.

Adjoining is the Drawing Room, styled by Scapula as a Salle de Glace, or mirror room, in which he replicated an eighteenth-century favorite with authentically proportioned panels and gold leaf moldings. Enclosed bookcases, doré bronze lighting fixtures and a large desk allow the space to be used as an office, a library or additional entertaining space.

One floor above is the Primary Suite, paneled in French oak in an au cappuccine finish. The imported French fireplace is topped by a canvas mural more than a hundred years old, "The Construction of the Roman Forum," brought back to New York from his honeymoon by the first owner of 238. There are two walk-in closets and built-in storage, and adjoining is the white Carrara marble bath with a six-foot soaking tub and double sinks.

On the same floor, at the front of the building, is the Guest Room, styled in the manner of a small Chambre de Parade and notable for its bed hangings and paneling. The walls are covered in Scalamandré silk, and the room is furnished in the Louis XV style. The ensuite windowed bath is finished in green marble with a large, rare purple marble vanity sink, and the dressing bath contains closets and built-in storage.

On the floor above is a Venetian decorated bedroom overlooking the garden, with a fireplace, three tilt-and-turn windows, a dressing room with a white vanity sink and gold fixtures and legs, a walk-in closet, and a bathroom finished in five kinds of marble. At the front there is a two-room-and-bath staff suite which can be shut off from the rest of the house and reached by elevator. Even here wonders abound: the headboard is a high-quality bronze casting that now appears to have come from an overdoor panel of the long-demolished north facade of Grand Central Terminal.

At last , the fifth-floor penthouse, done in a mid-century modern style, entirely different from the rest of th