On the left hand two doors opened out of the hall, the first into a paved and arched entry which led past the buttery hatch (on the left) to the garden entrance; and the second to the “Great Staircase,” finely wainscotted and carved, and lighted by windows to the east. At the foot of the stairs was the door into the great parlour, about thirty-four feet long by twenty broad, by far the finest room in the house. A large bow window at the further end, and three windows to the east, looked out upon the flower garden. The ceiling of graceful renaissance plaster work, light and in low relief, was designed with large quatrefoils and diamonds, the points of the latter running out into branches of quince, oak, or vine, or large fleur-de-lis of varying patterns. In the centres of the spaces between were moulded ornaments of mermaids, dolphins, squirrels, roses, octofoils, and winged and coronetted lions’ heads. On the walls, immediately below the ceiling, was a frieze, also in plaster, which exhibited a running pattern of vine leaves, grapes, and birds, stopped at intervals by strapwork escutcheons, with renaissance masks and heraldic lions’ faces upon them. Richly carved panels of oak, with floral designs of lilies, roses, etc., supported the frieze, and beneath them was plainer panelling broken up at intervals by flat pilasters decorated with foliage or fruit. On this panelling a few family portraits were hung; the furniture here, as elsewhere in the house, was of carved oak, already a generation old, and there was much needlework of the kind ladies then occupied themselves in making. The mantelpieces were also of oak, one which showed in high relief the sacrifice of Isaac, supported by figures of Samson and Hercules, being especially noticeable. The fire backs in all the principal rooms had been cast at Foxbrook furnace, some two miles away, from moulds of a flower-pot, a phœnix, or the royal arms and supporters.