Mounting the flight of steps under the porch,—from the top of which, through that dark vista of trees just a mile in length, we see the BELGRAVE LODGE,—we present our tickets of admission to the attendants, and are forthwith ushered into the ENTRANCE HALL of certainly the most magnificent mansion in Britain. This is an apartment eminently calculated to prepare the visitor for the gorgeous splendour everywhere pervading this far-famed Hall. In height it extends to two stories of the house, the floor being composed of the most richly varied tesselated marbles of the utmost rarity. Imagine a floor, less than forty feet square, costing its noble owner sixteen hundred guineas! Glance up at the chaste and elegant groined ceiling, the intersections relieved with foliated bosses and heraldic devices,—foremost among the latter being the arms of the Grosvenors, “azure, a garb or,” confirmed to the family after their bootless legal suit with the Scroopes. From the centre of the ceiling depends a gorgeous brass chandelier lamp, of exquisite workmanship. Opposite the entrance runs a Gothic screen of most elaborate character, supporting and half hiding an open gallery, which leads from the upper apartments on the north to those on the south side of the Hall. This screen is furthermore decorated with fourteen heraldic coats, in high relief, representing some of the numerous quarterings of the Grosvenor family. On the right and left are two chaste and beautiful white marble chimney-pieces, corresponding in design with the rest of the apartment. Above these, and on either side, are rich canopied niches, eight in number, in which are placed stalwart figures of warriors, clad in belted mail, and other ancient armour. In the lower recesses of the screen are two massive vases and pedestals of Peterhead marble. Four marble statues give a finishing grace to this noble ENTRANCE HALL,—that on the right representing “Telemachus Arming,” by Bienaimé; opposite to it, on the left, being Rinaldi’s classic group, “Ulysses Recognised by his Dog.” The other two present to us Gibson’s conception of “The Wounded Amazon,” and the equally meritorious “Dying Amazon,” by Wolff.