Here is Lord Delaval himself, who died in 1808, a nobleman of a somewhat rugged and domineering countenance. Here is the first Marquess of Waterford, with a long hooked nose; he is thin-lipped, narrow-eyed (it seems that he had a squint), wearing the ribbon and star of a Knight of St. Patrick. Henry, second Marquess, was painted by Sir Thomas Lawrence; a handsome head, crowned with a mass of fine light hair. In the hall hangs the portrait of the third Marquess; he whose bronze effigy lies in the chapel. He is reading. With his pale and finely cast features, his thick brown hair and beard, he might have been (but was not) an ascetic student. He married the Hon. Louisa {xxi} Stuart, second daughter and co-heiress of Charles, Lord Stuart dc Rothesay. The Marchioness was a lady of taste, and was considered the most talented amateur painter of her day. She laid out anew the gardens, where heretofore the horses used to graze close to the house, took great interest in the improvement of the mansion itself, designed the Cawnpore Memorial, designed Ford village, formerly the property of the Delavals in Northumberland, and achieved a series of cartoons representing religious subjects, which adorn the walls of the school at Ford. These and many other ancestral portraits gaze from the walls of gallery and hall and chamber, in the great house of Curraghmore. Each generation as it grew up has traced in them its own lineaments fore-ordained, and has marked the miracle of heredity repeated again and again, from Sir Tristram Beresford, darkling in full armour, through the masterful Katherine le Poer and the beautiful Susanna Carpenter, whose mother was a Delaval, to the penultimate head of the house of De la Poer Beresford.