The main block of buildings, lying between the two quadrangles, is now entered by the porch, which leads into a lobby or passage separating the great hall on the right from the kitchen and its offices on the left. This arrangement was general in mediæval dwelling-places, and may be seen in many of the timber manor-houses of Lancashire and Cheshire, where, as we see it at Haddon, the Minstrel’s Gallery is usually over the entrance passage, at the end of the hall opposite to the daïs. At Haddon, the table at the upper end still remains, supported on its three pedestal legs, and we think of the time when the King of the Peak held festival there, as we look upon its time-worn board. It is to be observed that the constructional conditions of the hall rendered it impossible to add the great bay, which was a chief feature of mediæval banqueting-rooms--one that may be seen in its perfection in the magnificent, but roofless hall of Wingfield, a few miles away. In the manor-houses of Lancashire and Cheshire, to which allusion has been made, the withdrawing-room lies in general immediately behind the great hall, and adjacent to the daïs, but at Haddon we find, in that position, a private dining-room, with a fine recessed window; and the drawing-room, which is above it, is approached by a flight of stone steps. The drawing-room at Haddon is a beautiful tapestried chamber, with fine views from its bay window over the gardens and down the valley of the Wye; and from it access is had to the Earl’s Bedroom and the Page’s Room. On the other side of the lobby from which the hall is entered is a sloping passage leading down to the kitchen, with its huge fireplace and curious culinary appliances, and other doors from the same passage open into the buttery, wine-cellar, add sundry offices. The great hall, and the domestic offices described, complete the enclosure of the first courtyard and form the western side of the second. The northern side of this upper quadrangle is formed of a series of small chambers; and a staircase from the hall-passage leads up to the quaint tapestried rooms above them, which, if tradition may be believed, were the nursery and the rooms of Dorothy Vernon, of Lady Cranborne, daughter of John Manners, eighth Earl of Rutland, and of Roger Manners. By the same staircase from the passage, access is had to the Minstrel’s Gallery, as well as to the gallery on the eastern side of the hall (a later addition), which brings the visitor to the top of the stone steps by which the drawing-room is reached. At that place are the segmental steps of solid oak, whereby the magnificent Long Gallery or Bedroom is entered. This great chamber, which is a chief glory of Haddon, will be alluded to later. It occupies the whole length of the southern side of the upper courtyard, and projects picturesquely at its eastern end upon the terrace, where a window affords a view of the winter garden towards Dorothy Vernon’s Walk. From the Long Gallery a