The ground-floor in the interior is occupied by offices; the upper contains some noble apartments, to which admission can only be procured by special favour. A noble vestibule leads to a double staircase of stone, whose two branches, after ascending in different directions, unite in a central landing-place, enriched with ornaments and sculptures. On the right, in a semicircle described by the wall, is framed a large oil painting, by Gainsborough’s nephew, representing a body of _past_ “Elder Brethren,” grouped together, and in uniform. On the left, in panels of glass, are inscribed the names of various benefactors of the establishment, and the amount of their bequests. Massive doors of mahogany introduce the visitor into the Board Room, whose ceiling, painted in 1796, by a French artist named Rigaud, and loaded with sprawling allegories, exhibits the Prosperity of England as springing from Navigation and Commerce. The British Neptune advances in triumph, surrounded by sea-horses, and attended by Tritons. In one hand he carries a trident, in the other the shield of the United Kingdom. His march is protected by cannons and other instruments of war, while genii hovering round him wave the standard of Great Britain. The standard may pass muster; but cannons! Is not this an abuse of anachronism even for a picture? On the other side, Britannia, seated on a rock, receives in her bosom the products of different countries. Sea nymphs, bending under their weight of riches, hasten from every quarter, and seamen spread upon the shores of England the fruits of an extended commerce. Children wave to and fro their torches in representation of the lights which encircle the coasts of the British Isles, and during the darkness of night direct the movements of her ships.