The interior of the <g>Barons’ Hall</g>, however, is by far the most interesting apartment in the Castle, and claims a high station among the banquet-rooms of modern times. It was designed, in connexion with the chapel already noticed, to commemorate the triumph of the Barons over King John, by the signing of the Great Charter at Runnymede. Its architecture, like that of the appendant chapel, is in the style of the fourteenth century. It is seventy-one feet in length by thirty-five in breadth, lofty in proportion, and, as a whole, produces a striking effect on the spectator. The roof consists of Spanish chestnut, elaborately carved in imitation of the richest Gothic originals, with numerous combinations, emblematical groups, and curious workmanship. The windows are of the acutely-pointed form; the canopies over the arches, which are ornamented with the lozenge, rest on corbel-heads of kings; and the transoms form the lower compartment of each light into a plain unadorned parallelogram. The windows, however, are the grand attraction, for in these the story of English freedom is brilliantly told. They are thirteen in number, nine of which are finished, and filled with stained glass. <g>The great window</g> illustrates the ratification of Magna Charta by King John, who, with ‘an indignant but powerless frown, seems to pause in the act of affixing his signature to the instrument, as if to upbraid the uncompromising patriotism of the Barons.’ On his right stand Cardinal Pandolfo, the Pope’s Legate, and the Archbishop of Dublin, who turns his head in conversation with other prelates behind him. On his left are seen Cardinal Langton, a mediator between the King and the Barons, but who administered an oath to the latter, never to pause in the struggle till they had obtained full concession of their liberty. Behind the Archbishop stands Almeric, Master of the Knights Templars[35]. In the foreground appears Baron Fitzwalter[36], with his page[37]; and behind him are the Lord Mayor[38] of London, and the attendant guards. In the background is a distant view of the Camp at Runnymede. For chasteness of drawing, depth of colouring, and sparkling brilliancy, this window is considered a masterpiece of modern art. The other eight windows, executed by Edgington, the talented artist already mentioned, contain full-length figures of eight Barons, progenitors of the Norfolk family, who were instrumental in procuring the Great Charter[39]. They are habited in chain-armour, the military costume of the thirteenth century, each with his armorial bearings emblazoned on his surcoat and shield. The heads are actual portraits of various distinguished members of the house of Howard, some of whom are still living. The effect is superb, and, at first sight, there is some difficulty in drawing the distinction between the real and the ideal. The scenes are so finely isolated, and the single portraits so [Illustration]