Entering by the door beneath the oriel on the south side we pass into a corridor that runs the entire length of the wing. At the western end is an antiquated apartment lighted by a five-light pointed window with traceried head, the old chapel or domestic oratory of the Sherburns, but now used for school purposes. Quitting this room we are next conducted through a series of corridors, galleries, and apartments, a detailed description of which is not only beyond our purpose but would be wearying to the reader. Among them is a room deserving of especial notice—the refectory—the banquetting hall of the former lords of Stonyhurst, which, though it has been extended at one end and subjected to other alterations, still retains many of its ancient features unimpaired. It is a spacious apartment, ninety feet by twenty-seven feet, with two recessed oriels and a fireplace capacious enough to roast an ox. It is fitted up in a style harmonising with its ancient characteristics, and is very suggestive of the abundance and lavish hospitality that were here displayed in bygone days; when the “two-hooped pot” was indeed a “four-hooped pot,” and fell felony it was to drink small beer. The floor is of marble, arranged in lozenge-like patterns, and a raised daïs or platform of the same material extending across the southern end terminates in the oriel recesses before referred to. The walls have the addition of a dado of oak and an elaborately ornamented frieze in relief. Across the northern end is a gallery protected by an open balustrade, adorned in front with the head and antlers of the moose deer and other trophies of the chase, and having the following inscription carved beneath:— QUANT JE PUIS. HUGO SHERBURN ARMIG, ME FIERI FECIT. ANNO DOMINI 1523. ET SICUT FUIT SIC FIAT. Over the fireplace is the Sherburn coat of arms, with the motto, “_Quant je Puis_,” and the date, MDCLXXXIX. A large number of portraits are placed against the walls, many of them those of distinguished alumni of Stonyhurst, while others are again commemorated by their heraldic shields in painted glass placed in the two oriel windows. At one end of the room is a large painting, the “Immaculate Conception,” which is said to be an original of Murillo.