The plan of the house, as given by Hakewill (Fig. 47), is of the modern order, although faintly reminiscent of the ancient arrangement in respect of the hall, which is approached from the entrance passage through a screen. The ground floor, containing the hall, library, and dining-room, is raised well above the ground, and the servants’ quarters are in the basement. Subsequent to the making of Hakewill’s plan, certain alterations were made which did away with the necessity of passing through one room to get to the next, but they did not affect the main dispositions. Much of the detail inside is quite charming, especially the ceilings, the panelling of the dining-room and the staircase. The sober yet fanciful treatment of the dining-room is delightful (Fig. 48) and strongly resembles that of some of Webb’s designs at Worcester College. Indeed the detail throughout abounds in touches such as are to be found in his drawings, and it has a freedom from pedantry which is quite refreshing, and may be regarded as a legacy from his less learned predecessors. The staircase has a carved and pierced floral balustrade of a type which had a considerable vogue in England during the second half of the seventeenth century (Fig. 49). The carving is particularly vigorous, especially in the newels and the great scroll at the foot of the stairs. The carved work is in lime, while the framework is in oak, but time has coloured the whole to one tone. The newels are crowned with fanciful vases full of flowers, another feature characteristic of the period. Some of the doors have panels over them, filled with painted landscapes, one of the earliest instances of a method of treatment that became very general in later years. The fireplaces, with one or two exceptions, are not fine examples of their kind. The lay out is quite formal. The house stands in the midst of a large oblong enclosure, some 700 ft. long by 350 ft. wide, containing between five and six acres. The stables and garden houses occupy part of this space, the remainder being devoted to a forecourt and gardens. The enclosing wall is pierced with gateways of which the piers are of varied and interesting design (Fig. 50). The stables themselves are less formal and more picturesque than the house, but the same strong and masterful treatment prevails throughout (Fig. 51). As within the house so without, the detail has more individuality than was possible in later times when the continued study of Italian models appears to have made designers too fearful of committing solecisms to allow them to give free play to their fancy. [Illustration: FIG. 50.--Thorpe Hall. Gate-Piers.] [Illustration: FIG. 51.--Thorpe Hall. The Stables.] [Illustration: FIG. 52.--Lamport Hall.]