Nor is the impression removed upon entering the venerable Hall--venerable only from its age--for bad taste appears to have studied how most effectually to deface it. A patent stove, of Birmingham manufacture, stands a few feet from the embayed window, illuminated with the “Household Coats of the Family, emblazoned in the gorgeous tinctures of Heraldry on the glass;” a “thin” Gallery, which the gauntleted hand of one of the grim Knights of old times might shiver into fragments at a single blow, leads to some upper chambers; above the sturdy arched Doorway hang some double-handed swords, glaives, partisans, and rusty helmets, relics of the once heroic masters of the place,-- “The treasures of a soldier, bought with blood, And kept at life’s expense,”-- mingled with the bugles of a brass band, and the drumsticks of a corps of Yeomanry. These unequivocal signs of neglect and tokens of indifference towards ancient honours and long-ago renown are mournful indications--grieving the heart of the antiquary, and nullifying the belief that a proud name is a noble heritage because a stimulus to rivalry in honour and in fame. It has been our bounden duty thus to notice this modern vandalism--for the humblest writer may contribute somewhat to increase a love for what is excellent by aiding to censure what is evil. Of its internal decorations there are some interesting and valuable remains, which have neither been removed nor defaced. Mr. Shaw, in his “Details of Elizabethan Architecture,” publishes an engraving of the beautiful and elaborately-carved Chimneypiece of the Dining Room. “The compartment above the mantel is entirely devoted to a very full display of heraldic insignia, recording the descent and alliances of the family [Illustration] of More; the rich effect of which is increased by the spirited carvings of the styles, and of the six variously-formed panels in which the several shields are inserted. These ornaments are all executed in fine stone, and skilfully wrought.” The ceilings at Loseley are also of remarkable character. That of the Drawing Room is especially fine. It is adorned with “Gothic tracery and pendant corbels.” In one of the cornices is inserted a mulberry-tree, on one side of which is inscribed “Morus tarde Moriens;” on the other, “Morum cito Moriturum”--being a rebus on the name of the family. The ceiling of the Bed Room, of which a portion is shown in the wood-cut annexed, is also very beautiful. In several of the compartments are introduced the Moor-cock and Moor-hen--badges of the race of More.