From an inspection of these two kinds of cave ornamentation it is seen that, whereas the former are porous and free from central tubes, sometimes running in a straight line and sometimes obliquely, the latter are solid, being formed by lamination and not by accretions of matter conveyed through small interior ducts to external points. This cave may appropriately be called the Marble Hall. Portions of the walls are graced with a "formation" from the limestone rocks above, the stucco having flowed in shapes both grotesque and arabesque. Some of the interstices are filled with stalactites and stalagmites of various colours and proportions. Many stalactites on the roof of the mouth of the cave are said to be from 12 to 15 feet long. All around are entrances to numerous interior spaces adorned with stalactites of the most delicate hues. Some are tinged with various gradations of blue; others are of salmon colour, and delicate fawn. Others again are sober grey, and white shaded with neutral tint. The rocks are decorated with little patches of moss, from rich old gold to living green. The harmony of colour is marvellous, and the combined effect unique. Nature herself has so painted and ornamented the cave as to give a lesson to professors of decorative art. The vision of rocky beauty grows upon the imagination of the observer until at last it seems like a new revelation of the enchanting effects which can be produced by natural combination. To the artist this cave presents attractions of a kind not to be found in any other of the wonderful caves of Jenolan, although commonly it receives small attention from visitors, who recognise its grand proportions, but are impatient to witness the more elaborate and brilliant features in the hidden recesses of the mountain. Why this spacious cavern should be called the Devil's Coach House (except on the _lucus a non lucendo_ principle) few would divine. The name of his Satanic majesty is often associated with horses and horse-racing, but not generally with coaches and coach-houses. In this connection, however, it is necessary to observe class distinctions. The cavern is not sufficiently monstrous to be used by Milton's personification of the rebellious archangel, nor sufficiently hideous for Burns's "Auld Clootie," with hoofs and horns. Coleridge's devil or Southey's devil (as illustrated in "The Devil's Thoughts" of the one, and "The Devil's Walk" of the other) was neither too grand nor too ignoble to notice coach-houses. But then, he was a sarcastic fiend, for when he "saw an Apothecary on a white horse ride by on his vocations," he "thought of his old friend Death in the Revelations"--which was rather severe on the pharmacist. But leaving the man of drugs-- "He saw a cottage with a double coach-house, A cottage of gentility; And the Devil did grin, for his darling sin Is pride that apes humility."