smaller one is inscribed "Loddington Volunteer Cavalry,"a crown with the initial P. Arms-quarterly; 1 and 4, sable a lion passant, between three scaling ladders; 2, gules, on a chief, argent, two mullets, sable; 3, a fess, gules, between three cross-crosslets fitchee. Motto, "Equam servare mentem." Morris, of Loddington Hall, in the county of Leicester. Sixth inscribed "La Turbulente" of the same size and cognizances as the four first;-"6. 2. 13." Seventh, "L'Americane 6. 2. 3." Eighth, "La Remarquable, 6. 1. 12."

INTERIOR.

On entering the Castle, we may remark in the first place, that the porch, entrance passage, guard room, and gallery, were all designed by Sir John Thoroton, from portions of Lincoln Cathedral. Over each door of the porch, are arms,—Rutland impaling the quarterings of the Carlisle family, viz. Howard, Brotherton, Warren, Mowbray, Dacre, and Greystock, with motto of the garter and ducal coronet. The entrance passage is lighted by eight windows, (four on each side) between which, shafts rising from flowered corbels, form the support of moulded ribs on the vaulted roof. Ranged along each side of this passage are stands of arms for about one hundred and twenty men, appropriately commencing with a star-like arrangement of cavalry sabres, whose points meet in a central boss, having on its face, a correctly designed cast of the head of the Duke of WellingOn each side of the extreme end of this passage are banners, and two stands of pikes, one of which is intended to mask an ingenious contrivance, for procuring an effectual draught for the stove, which warms this passage. A little side room on the left, appropriated to the use of such of his Grace's tenants, as may be desirous of a personal communi

ton.

cation, forms part of the same design. This room from its occasional use, has received a name of very literal import,— "Speak-a-word room." It contains some very good engravings on stone, one of which represents Goosey among his hounds.

The gigantic elk's head with horns, resting on the finial over the door of entrance from the porch, was dug out of a bog in Ireland. Above the stands of arms on each side, are ranged water-buckets for the fire-engine. The door with unglazed window above, looking into the guard-room and gallery, is a remarkably beautiful specimen of decorated character.

THE GUARD ROOM

Is a magnificent combination of ancient style with modern comfort. The principal material of the floor (Nottingham freestone) is relieved of its sameness of character, by two squares at either end, of mosaic-work; or, rather, an intermixture of black and white marble, with freestone, in a fretty form. On each side the door of entrance, the walls are covered with blank arcades with trefoil heads, tooth moulding, and embattled cornice; above which, are four deep windows, the sides and archivolts of which are decorated with plain mouldings, and the deep centre hollow, with a single string of the tooth ornament. The arrangements of arms at each end mask stoves, the one to the right, containing among its various implements of war, a cavalry sword, worn by Lord Robert Manners, at the battle of Waterloo.

The character of this portion of the Castle is preserved throughout, by banners, complete suits and detached pieces of armour, arranged in niches, or against panels. The two figures in gilded armour have a certain gorgeous effect, by

being placed in contrast, as it were, with the mellow, almost gloomy light, from the stained glass in the gallery behind. But they are, in no other respect, worthy of their distinguished situation: being incongruous in detail, and of unsubstantial material. There are in this very guard room, pieces of armour, of steel inlaid with gold, which a skilful cleaner might render more appropriate and striking embellishments.

Want of space alone prevents a detailed description of many portions of the architecture of this grand room. The visiter is, however, requested to give the observance of a few seconds, to the vaulted roof, with its moulded ribs, bosses, and shafts, with their elegantly flowered corbels. Let him also look at the effect of the grand staircase, and the gallery as seen through those flattened arches, especially the arch of entrance to the staircase, with its panelled sides, multfoil head, and continuous string of ball-flower moulding. The tables on each side of this entrance are interesting, not only on account of the great beauty of the material, but from the history of their formation. The slabs consist of strips of deposit taken from wooden pipes, used for conveying water in Blithe Mine, Alport, Derbyshire; and were formed in eleven years. The frames and legs are of oak, dug up from under some old houses in Sheffield.

The family cognizances in the Guard Room, are those of Robert de Todeni, over the door into the porter's lodge; and over another door at the same end, Albini impaling De Lisle. Above the piers of the arches at this end, are, De Roos impaling Beauchamp, Earl of Warwick; and De Roos with an escocheon of pretence for Isabella, the heiress of the house of Albini. Above the piers at the opposite end, are, De Roos impaling Stafford; and De Roos impaling Neville; over each of these last four shields, is a coronet.

Above the piers on each landing from the first flights of

stairs, after leaving the Guard Room, are Rutland with St. Leger, on an escocheon of pretence; and Rutland with De Roos on a similar escocheon. Previous to mounting the grand staircase which communicates with the principal story, we turn to the left in the guard room gallery, and in the stained glass of four windows, executed by Wyatt, we observe, first, the arms and scroll of "Robert de Todeni;" in the second light of the same window, the arms and scroll of "William D'Albini. In the second window, there are representations of two knights in barons' coronets and mail armour, with shields and scrolls, which determine them as memorials of "Robert de Todnei le Fundeur," and "D'Albini." The former holds a standard on which appears, gules, two lions passant gardant, or; to denote the office of standard-bearer, which Robert de Todeni sustained under the Conqueror. In the third window are representations of knights with similar coronets and armour; whose armorial bearings and scrolls commemorate "Walter Espec.-Fidem semper regibus servans;" behind whom is some drapery, with the cognizance of Scotland, in allusion to his valour in the battle of the Standard in 1138, when the Scotch experienced a ruinous defeat, and lost half their army: and "Robert de Roos" on whose tabard of argent, is a cross moline, gules. The fourth window contains the shields and helmets, &c. of Robert de Todeni, and De Roos. Returning back to the west portion of the gallery, we remark the richness of ornament in the arches and semi-arches, or brackets, which support the landing on the principal story; the tooth moulding in the former; blank shields, the Beaufort cognizance and Tudor Rose, in the spandrils of the latter. The Ottoman with its twelve back cushions at the north-west end of the gallery is about three yards square, and was worked in worsted, by the ladies of the neighbourhood, It is decorated with compartments, in which, are the peacock, the cap of dignity, ducal coronet, and flowers.

Ascending the grand staircase, we arrive on the gallery of the principal story; round which are niches, with crocketed canopies and finials. The arms above the niches are;— 1, Rutland impaling Paston; 2, Rutland impaling Neville; 3, Rutland impaling Holcroft; 4, Rutland impaling Charlton, Lord Powis; 5, Rutland, with an escocheon of pretence for Sidney; 6, Rutland, with a similar escocheon for Knevitt, impaling Tufton; 7, Rutland impaling Carey; 8, Rutland impaling, quarterly, Montagu and Monthermer. The above are the armorial bearings of the first eight Earls of Rutland. The gallery of this staircase communicates at the north-west end, with the regent's gallery, and the king's rooms; and, at the other end, with the anteroom to the library, formerly the billiard room, and the picture gallery. The usual and perhaps the most convenient course of viewing the rooms on the principal story, is, to proceed first by a door on the left, into

THE REGENT'S GALLERY.

The fire of 1816 was stopped at this door, by bricking it up, after having done some slight damage to the oak floor, (some traces of which may be now observed on entering) and consuming a single picture hung over the door. At this end of the Regent's Gallery, our surprise is excited, that the great disproportion of the breadth to the length;—17 feet 8 inches, to 131 feet, and 18 feet 2 inches high,—should not occasion the room to appear more decidedly what it was designed to be,-a gallery,-than what it is often applied to, a magnificent, as well as comfortable, living room. is, however, soon observed, how its anticipated disproportion has been obviated. The central tower of this side of the Castle, with a diameter of 35 feet 9 inches, by the addition of a bay to the gallery, gives an increased breadth of 18

It