The Chinese Pavilion features well-preserved interiors, and is also fully furnished. To this day, the Chinese Pavilion remains part of the royal right of disposal, which was written into the 1809 Instrument of Government and remains in the Instrument of Government that came into force on 1 January 1975. King Gustav VI Adolf's (1882–1973) expertise in Chinese porcelain and his interest in the reconstruction work were particularly helpful. A careful study was made of the inventory drawn up in 1777 when Lovisa Ulrika handed over the palace, and all the objects taken from the pavilion were brought back. The building's interiors were restored in the 1960s. The street was named Kanton after the Chinese city now known as Guangzhou, and still bears the name to this day. Small factories to produce oriental-inspired objects were built alongside the avenue leading to Lovö Church. Avenues of trees were planted in different directions next to the pavilion. The pavilion presented an idealised view of the exotic far-eastern nation, which was famous for its fine artisan objects. Carl Fredrik Adelcrantz (1716–1796) was in the process of building Drottningholm Theatre, and the design of the new theatre's festive interiors led quite naturally to the spectacular interior and exterior of the Chinese Pavilion. However, thoughts about improving the building led to its demolition. The Queen appreciated the small pavilion, although it lacked modern conveniences. Both the art collections and the building itself offer an excellent insight into many different periods of Swedish history. Every year, an honorary portrait is painted of someone who has made outstanding contributions within their field.

The collection now includes more than 5,000 portraits, and it continues to grow. The portrait collection was expanded further, but it was not until 1822 that it became known as the State Portrait Collection. He recognised the importance of emphasising his links to the House of Vasa, but more modern interiors were required and a theatre was also constructed in one of the towers. He mentions in a letter how 'I imagine that I have returned to the time of King Gustav I, which fills me with indescribable pleasure'. In 1772, King Gustav III moved to Gripsholm. Her desire to surround herself with family portraits meant that she built up a large collection of paintings here. During the 17th century, Gripsholm was occupied by several queens including Hedvig Eleonora, who used it for 61 years. Gripsholm is considered to be one of the finest examples of Vasa Renaissance architecture, particularly externally, but a few interiors from the time of King Gustav I Vasa (1496–1560) still remain. The park was expanded with a system of canals and islands, and is now an excellent example of the 18th century English park ideals. Lovisa Ulrika passed on the right of disposal to her son Gustav III (1746–1792). Carl Linnaeus was one of the experts who helped to catalogue her collections. Lovisa Ulrika had a number of interiors created, including to house her collections of art, coins and medals. Lovisa Ulrika (1720–1782) married Crown Prince Adolf Fredrik (1710–1771), to the accompaniment of Johan Helmich Roman's Drottningholm Music, in the Hall of State at Drottningholm Palace in 1744. Architect Nicodemus Tessin the Elder (1615–1681) had carried out a study visit to Europe between 16, and the result was a highly suitable palace that featured architectural elements inspired by the palaces of France and Italy. The fire presented an opportunity to build a palace that would be more prominent by international comparison. Queen Dowager Hedvig Eleonora (1636–1715) took over the palace in 1661, but on the day before New Year's Eve in 1661 the old palace burned down. Like several other Swedish queens, she has a strong connection to Drottningholm Palace. Drottningholm's rich heritage dates back to the 16th century, when King Johan III took an interest in the royal estate of Torvesund and had a small palace built there for his wife Queen Katarina Jagellonica (1526–1583). As a result, UNESCO designated Drottningholm a World Heritage Site in 1991. The Royal Domain of Drottningholm has been preserved intact since the 18th century, and is therefore an excellent example of an authentic palace environment from the 17th and 18th centuries.

Proelia of sweden