The building within the bounds of the moat forms three sides of a quadrangle, which encloses a quaint garden with paths running between close–mown turf and clipped yew bushes. The old mansion is rich in beautiful panelled rooms and wonderful carved mantelpieces. On the left–hand side of the entrance to the house itself is an anteroom leading to the great Hall. In this beautiful oak–panelled chamber is an unusually handsome Renaissance fireplace of carved stone, dating from the middle of the seventeenth century, and ornamented with seven shields of the family arms painted on the stone–work, the last shield commemorating the marriage of Edward Ferrers and Ann Peyto in 1611. The chief features of the room, however, are the heraldic devices of the sixteenth and seventeenth centuries which adorn the windows; an old seventeenth century cabinet of quaint design, the front of which is divided into twenty small panels and ornamented with groups of cupids, nymphs, and satyrs; several dower chests; and a silver twisted horn, traditionally stated to date from the year 1400, and to have been presented to the Lord de Ferrers of that time by the French Ambassador at the Court of King Henry IV. There is also an interesting leather bottle fished out of the moat a few years ago; and an old buff leather coat which may have been a relic of the unwelcome visitation made by the Parliamentarians during the Civil War. The drawing–room is panelled oak and has oaken benches in the recesses of the window, and is rendered notable by the large carved oak fireplace, which is ornamented by the arms of the Ferrers of Groby. In this room, too, is a fine portrait of Sir Walter Raleigh, attributed by several authorities to Marc Garrard. In the southern angle of the hall is a handsome staircase leading to the enclosed gallery running round the inner part of three sides of the house, and giving access to the upper story rooms. The State bedroom, which contains a very fine and elaborately carved chimney–piece, reaching from the floor to the ceiling, is on the left of the staircase, and this room is finely panelled in oak, as are so many of the others of this most interesting house. In the Oratory or domestic chapel of the house is a most curious and interesting Flemish Sanctus bell, dating from 1555, and having on it a small incised female effigy, supposed to represent the wife or daughter of Nicholas Brome; there is also an inscription, IHESVS ES MINEN NAEM. The banqueting hall of the house is situated over the gateway, and is a fine room lighted by a mullioned window, and containing some good and very ancient oak carving and panelling, and also some beautiful tapestry. Unfortunately the high pitched roof of open timber–work has been covered by a plaster ceiling.