From the ENTRANCE HALL we pass through the Gothic arch upon the left, along the GREAT CORRIDOR,—a handsome gallery, near five hundred feet in length, enriched with numerous portraits of the Grosvenor family, as well as a recumbent statue, in marble, of a _Sleeping Bacchante_,—to the private or DOMESTIC CHAPEL of the mansion. This is reached by a short gallery to the left, the two gothic windows of which are adorned with medallions of _The Resurrection_ and the _Madonna_, in richly stained glass. The CHAPEL, which measures about 40 × 30 feet, has a handsome groined roof, tastefully relieved with floriated bosses and circular finials, adorned with sacred monograms and other devices. The light of day shines into the Chapel through three rich pointed windows, upon the west side, each filled with stained glass of pristine beauty. In the centres of these we see eighteen vesica-shaped medallions, depicting scenes and events in the life of Our Blessed Lord, viz., in the left-hand window,—“The Annunciation,” “The Virgin and Child,” “The Wise Men of the East,” “The Shepherds Watching,” “The Presentation in the Temple,” and “The Flight into Egypt.” In the right-hand window we have—“Christ giving Sight to the Blind,” “Blessing Little Children,” “Raising the Dead Lazarus,” “The Woman of Samaria,” “The Baptism of Christ,” and “Christ Walking on the Sea.” The subjects in the centre window are—“The Last Supper,” “The Agony in the Garden,” “Christ bearing His Cross,” “The Angel declaring the Resurrection,” “Christ appearing to Mary,” and “The Ascension.” Contrary to usual ecclesiastical rule, the reading-desk and communion-table, of carved oak, are at the south end of the Chapel. Near by is the stall of the noble Marquis, which, together with the rest of the seats, is of oak, appropriately carved, under the superintendence of Mr. Morison, then clerk of the works, but now permanently employed by Lord Westminster in a higher capacity. On the north wall formerly hung the painting now decorating the east side, representing “St. Michael’s Contest with the Dragon,” a copy by Evans from the original by Guido. A handsome window has recently been introduced into the north wall, and filled with embossed fleur-de-lys quarries of plate-glass, producing an admirable effect. Over the communion-table we perceive Weiser’s spirited copy of Rubens’ “Descent from the Cross.” The servants’ entrance is by another door upon the left, leading away to their apartments on the basement story.