From one of the windows I see a young lady sitting under a tree across a meadow, with her knees up, dipping something into her mouth. It is a camel's hair paint-brush: the young lady is sketching. These are the only besiegers to which the place is exposed now, and they can do no great harm, as I doubt whether the young lady's aim is very good. We wandered about the empty interior, thinking it a pity things should be falling so to pieces. There is a beautiful great hall--great, that is, for a small castle (it would be extremely handsome in a modern house)--with tall, ecclesiastical-looking windows, and a long staircase at one end climbing against the wall into a spacious bedroom. You may still apprehend very well the main lines of that simpler life; and it must be said that, simpler though it was, it was apparently by no means destitute of many of our own conveniences. The chamber at the top of the staircase ascending from the hall is charming still, with its irregular shape, its low-browed ceiling, its cupboards in the walls, and its deep bay window formed of a series of small lattices. You can fancy people stepping out from it upon the platform of the staircase, whose rugged wooden logs, by way of steps, and solid, deeply-guttered hand-rail, still remain. They looked down into the hall, where, I take it, there was always a certain congregation of retainers, much lounging and waiting and passing to and fro, with a door open into the court. The court, as I said just now, was not the grassy, aesthetic spot which you may find it at present of a summer's day: there were beasts tethered in it, and hustling men-at-arms, and the earth was trampled into puddles. But my lord or my lady, looking down from the chamber-door, could pick out the man wanted and bawl down an order, with a threat to fling something at his head if it were not instantly performed. The sight of the groups on the floor beneath, the calling up and down, the oaken tables spread, and the brazier in the middle,--all this seemed present again; and it was not difficult to pursue the historic vision through the rest of the building--through the portion which connected the great hall with the tower (here the confederate of the sketching young lady without had set up the peaceful three-legged engine of his craft); through the dusky, roughly circular rooms of the tower itself, and up the corkscrew staircase of the same to that most charming part of every old castle, where visions must leap away off the battlements to elude you--the sunny, breezy platform at the tower-top, the place where the castle-standard hung and the vigilant inmates surveyed the approaches. Here, always, you really overtake the impression of the place--here, in the sunny stillness, it seems to pause, panting a little, and give itself up.