Over the gateway there rose a turreted tower, the small square window of which, notwithstanding its stout stanchions, illumined the muniment room of the House of Carabas. In the spandrils of the gateway and in many other parts of the building might be seen the arms of the family; while the tall twisted stacks of chimneys, which appeared to spring from all parts of the roof, were carved and built in such curious and quaint devices that they were rather an ornament than an excrescence. When you entered the quadrangle, you found one side solely occupied by the old hall, the huge carved rafters of whose oak roof rested on corbels of the family supporters against the walls. These walls were of stone, but covered half-way from the ground with a panelling of curiously-carved oak; whence were suspended, in massy frames, the family portraits, painted by Dutch and Italian artists. Near the dais, or upper part of the hall, there projected an oriel window, which, as you beheld, you scarcely knew what most to admire, the radiancy of its painted panes or the fantastic richness of Gothic ornament, which was profusely lavished in every part of its masonry. Here too the Gothic pendent and the Gothic fan-work were intermingled with the Italian arabesques, which, at the time of the building of the Château, had been recently introduced into England by Hans Holbein and John of Padua. How wild and fanciful are those ancient arabesques! Here at Château Desir, in the panelling of the old hall, might you see fantastic scrolls, separated by bodies ending in termini, and whose heads supported the Ionic volute, while the arch, which appeared to spring from these capitals, had, for a keystone, heads more monstrous than those of the fabled animals of Ctesias; or so ludicrous, that you forgot the classic griffin in the grotesque conception of the Italian artist. Here was a gibbering monkey, there a grinning pulcinello; now you viewed a chattering devil, which might have figured in the “Temptation of St. Anthony;” and now a mournful, mystic, bearded countenance, which might have flitted in the back scene of a “Witches’ Sabbath.” A long gallery wound through the upper story of two other sides of the quadrangle, and beneath were the show suite of apartments with a sight of which the admiring eyes of curious tourists were occasionally delighted.