Environ’d round with _Nature’s_ shames and ills, Black heaths, wild rocks, bleak craggs and naked hills And the whole prospect so informe and rude, Who is it, but must presently conclude That this is _Paradise_, which seated stands In midst of _desarts_, and of barren _sands?_” The engraving from Knyff’s drawing illustrates, to a remarkable degree, this description by Cotton, but for our present purpose it is not necessary, perhaps, to enter further into it. The house formed a quadrangle, the west front being the principal. An enclosed carriage-drive with large gates led up to the north front; the stables and stable-yard were at the north-west angle; and the part where now the Italian garden stands, was a large square pool of water with a fountain in its midst. Since then the whole of the grounds have been remodelled, the immense fish-pools, the stables, &c., taken away, and a new part added to the mansion. The grounds were as fine, according to the taste of the times, as any then existing, and the description given of them by Charles Cotton brings vividly to the mind the time when “Sunday posies,” of “roses and lilies and daffy-down-dillies” were in vogue, and when peonies were worn in the button-hole; while rosemary and bay were the choicest of scents. Fountains and statues as described by Hobbes and by Cotton still adorn the grounds, and it may be well to note that the busts on the pillars in the Italian garden, which we engrave, originally belonged to the inner court of the old mansion.