Returning to the staircase we descend the first flight, and turning to that at the left pass by a full-length statue, in carved wood, of Sir Walter Raleigh; to a lobby, communicating on one hand with the Minstrels’ Gallery, on the other, through a very curious oak door, to the Round-Tower Chamber. This last is covered with stamped leather, white and gold, and commands, from the deep-set window, a beautiful view of the gardens. It contains portraits of Madame Dubarry, mistress to Louis XV.; of Ninon de l’Enclos; and one or two other persons of better repute: amongst them, Viscountess Falkland, daughter of Sir Rowland Lytton--a charming face. In a lobby adjoining the tower is a stone bust of Prince Charles Edward. In the Music Gallery is a long picture of “_Moses in the Bulrushes_,” which unluckily hides the old _œil de bœuf_, so rare in English halls. A corridor leads from the Music Gallery to the principal sleeping chambers, which are, for the most part, in character with the rest of the house. The _Falkland Room_ is uniformly in the style of Charles II., with family portraits of that date: viz. Margaret, daughter of Sir William Lytton, and wife of Viscount Hewyt; another daughter, Dorothy, wife of Sir Francis Barrington of Barrington; a third, Judith, married to Sir Nicholas Strode; and fourth, Elizabeth, married to W. Windham of Felbrigge, ancestor of the celebrated statesman. Over the chimneypiece hangs a half-length of Charles II. in armour. Another room, called _the Hampden_, is of a much earlier style of decoration and furniture than that which the name betokens. The curious old bed, the wardrobe, chimneypiece, &c., are about the time of Henry VIII. or Edward VI. But the two most interesting rooms in this part of the house are, 1st, that called Queen Elizabeth’s, which is carved entirely, with magnificent old tapestry in fine preservation, and in which are a vast bed of carved oak, a rude chimneypiece supported by quaint stone figures, &c.; 2d, the room called Mrs. Bulwer Lytton’s, and occupied by her in her lifetime. This contrasts with the rest of the house, and is entirely modern. The walls, paneled in wainscot, white and gold, are hung round with her own drawings and paintings, some of which are of no common merit for a lady artist; here also are collected the portraits of her immediate family, her three sons, her mother, Sir Edward’s children, &c. But the feeling which dictated the character of this room is best told, perhaps, by the following inscription over the chimneypiece:-- “_This room, long occupied by Elizabeth Bulwer Lytton, and containing the relics most associated with her memory, her Son trusts that her descendants will preserve unaltered. Liberis Virtutis exemplar._”