In the end adjacent to the entrance were two doors (there are also indications of a third at the end of the north aisle) which led to the kitchen, the pantry, and buttery. At the upper end was a door which led to the solar and subsequently, no doubt, to the four chambers, mentioned in the Inquisition, which replaced it. At the time when the hall was built, about 1180, the probability is that there were not so many as four chambers, but merely the solar. There is no fireplace, so the fire must have been on a central hearth, with a louvre over it in the roof; but the present roof having been rebuilt affords no evidence on this point. The lighting was from small windows in the side walls, supplemented by a larger one in the gable over the doors to the kitchen (Fig. 15). The side walls are necessarily not very lofty, and the light from the small windows had a long way to travel, consequently the place must have been but ill-lighted although far more cheerful than contemporary keeps. The lighting was wholly inadequate for modern purposes, and has therefore been increased by means of dormers. The style of the work is such as marks the buildings of the later years of the twelfth century. The four arches of the arcades are semicircular and of about 15 ft. span; they rest on massive round pillars (Fig. 13), and where they spring from the end walls they rest on corbels of unusual and quaint design. The entrance door is round-headed and of two orders, the outer being carried on a shaft and cap. The windows are of two lights, with pointed heads, the mouldings carried on shafts externally; the tympanum is filled in solid, thus making the actual light square-headed. Internally each window is set in a deep recess under a round-headed arch carried down to the floor, thus differing from church windows which usually have a sill the full thickness of the wall. The angles of the windows inside and out, as well as the outer angles of the doorway, are ornamented with the dog-tooth. The illustrations make this short description plainer than many words, and they show how in general treatment the door and windows closely resemble contemporary work in churches. There are no indications of a screen at the entrance end, nor of a daïs at the upper, inasmuch as the ornament of the window-recesses goes down to the floor in all cases, whereas had there been a permanent daïs, it would have stopped short to accommodate it. [Illustration: 16. Oakham Castle. Pier cap.] The pillars of the arcade have vigorously carved caps admirably designed (Fig. 16), and they support, between the springing of the arches, quaint figures of musicians. Two of the heads which support a corbel on the wall near the entrance are supposed to represent Henry II. and his queen. The whole of the work is excellent in design and execution, and the hall, both in its arrangement and its building, is the most valuable example left of its period.