lights, and on the south side by a square-headed window of four lights. New moulded uprights, and a gate in the chancel screen have been added. The roof is flat, and formed in panels. The walls bear ornamentation of renaissance character, and black-letter texts, not yet restored, of a date anterior to the Authorised Version. The holy table is now appropriately adorned with crucifix, candles, and flowers. The altar cloth is of dark crimson, richly embroidered with gold.

The Service of Reconciliation, by licence of the Bishop of Chester, which took place on the 17th of October, 1893, was conducted by the Rev. J. M. Egerton, then Rector of Old Rode, when the chapel was filled with a devout congregation. Services are now held regularly here on Saints' Days, when the clergy from Old Rode officiate. It is pleasant to mention that in this quaint little chapel the Rev. Thomas Brook-formerly Rector of Gawsworth, and subsequently minister of the old church of St. Peter at Congleton-preached his last sermons. He resided in Congleton from 1649 to 1661, when he was dispossessed for nonconformity. Mr. William Moreton, of Old Moreton Hall, was his friend and patron, and, after Brook's dismissal from Congleton, opened his own private chapel to him, where he preached until his death in 1664, at the age of seventy-one.

The great hall is a handsome, lofty apartment, thirty-four feet by twenty-one feet. Attention should be given to the elaborate carving which adorns the entrance to this room. Clustered and twisted pillars form the side-posts, and figures of dragons adorn the spandrels of the low, central principal, the tie-beam being relieved with running ornament. A double row of carved dwarf pillars support the cornice, with quatrefoils let into the spaces between. The projecting window, as seen in the illustration,

is surmounted by a gabled roof, which completes the beauty of the porch. Indications of the existence in former times of the musicians' gallery and the screen that divided the apartment from the kitchen and the vestibule are not wanting. In one of the lights of the projecting oriel is a greyhound statant, the crest of the Moretons.

A narrow passage leads to the smaller hall and withdrawing room, which is twenty-two feet by fifteen feet. The second great window, which gives light to this apartment, contains some remnants of coloured glass, representing the heraldic bearings of the Breretons of Brereton, and the Moretons, also the rose and crown of the house of Lancaster. In this room the walls are wainscotted, and the ceiling is of oak panelling worked in squares. Above the fireplace, which reaches from floor to ceiling, are.

the royal arms of Elizabeth-France and England quarterly, with a lion and dragon as supporters.

A wainscotted room, probably the boudoir of one of the fair ladies of Moreton, adjoins the drawing room. Here the visitor may be served with a homely tea or substantial luncheon by the genial caretaker, Mrs. Dale, whose ancestors held the same post. The "carpeder," Rychard Dale, the maker of the two great windows, was one of the same family.

The kitchen must not be overlooked, where are several relics of the Moretons: the old spice chest, containing twenty-five little drawers; the pewter plates, bearing the Moreton crest; and the old oak table, around which a dozen people might sup.

The upper rooms are reached by several spiral staircases. These consist of bed and sitting rooms on the first floor, and the long gallery on the second floor. The latter is considered of great importance and interest, the tradition (I am constrained to write tradition) that Queen Elizabeth danced in it being generally believed. The room measures about seventy feet in length, and is only twelve feet wide, the height to the roof being seventeen feet. Panels of old oak wainscotting cover the lower portions of the wall, the room being lighted by windows that extend almost entirely round the apartment. These windows are a marvel of the glazier's art, being set in the smallest panes. On the left of the doorway, scratched upon the window, amongst several other inscriptions, is the following, which is set upside down:

"I stay here both day and night,

To keep out cold and let in light."

Over the window at the east end is a female figure, representing Fate, holding a sword in one hand

and a pair of compasses in the other. The sword is thrust through a globe hanging above her head. The following inscriptions are seen on either side of the illustrations :

"The speare

of Destinye

Whose ruler
is Knowledge."

A female figure at the other end is symbolic of Fortune. Her right hand is pointing to the inscription painted on the rim of her wheel-Qui modo scandit corruet statim. The side panels are inscribed

"The Wheele

of Fortune

Whose rule is
ignorance."

The retiring room leading from this gallery contains a large fireplace, much ornamented, as will be seen by the illustration. Justice and Mercy

are represented on either side. The shield in the centre bears the arms of Moreton, quartering those of Macclesfield. The crest is that of the Moretons. John de Moreton, in the time of Edward III, married Margaret, the daughter of Jordan and sister and co-heiress of John de Macclesfield. The quartering in the shield alludes to this union. This apartment, which is somewhat lofty, is wainscotted, and the windows are glazed after the manner of those in the long gallery.

In conclusion, I would say that under the new régime this old mansion is being cared for and prized, as it so well deserves. Thousands visit it during the year. Some twenty years back only a score of people used to inspect it annually. The dawn of its fame as an interesting show place began when Miss Amelia Edwardes wrote her "Lord Brackenbury" for the Illustrated London News. Old Moreton Hall was the delightful manor house of this delightful tale. Of late years, brush and canvas and photography have combined to make its romantic beauty more famous and more widely known.