hall have suffered grievously. Those on the west (left) were deprived
of their heraldry and portraits in 1785. In those on the east new
glass with poor imitations of the ancient series of figures and
coats-of-arms was placed in 1824. At the same time the wainscotting
painted in 1580 with inscriptions and heraldry was cleared away and
replaced with cement. The inscriptions were copied with care, but "the
ornamentation was followed without any very fastidious copying of the
uncouth ancient style"![8] The timber roof is of low pitch, with
traceried spandrels above the tie-beams. Angels playing on a variety
of instruments are placed at the centre of each tie-beam and there is
much good carving of foliage and animals at the intersections of the
timbers. The most famous adornment of the hall is the tapestry behind
the dais. The following views as to its origin and subject are those
of George Scharf the antiquary. It is of Flemish design but probably
of English manufacture, is woven, not embroidered, and was made in the
early sixteenth century for the place it occupies, its compartments
corresponding with those of the window. It is in six compartments in
two rows. The upper central has a figure of Justice, an insertion
probably in the place of Christ, angels with the instruments of the
Passion being on either side. The lower central represents the
Assumption of the Virgin in presence of the apostles. The upper left
in order from the centre has eleven saints, SS. John Baptist, Matthias
(?), Paul, Adrian, Peter, George, Andrew, No. 8(?), Bartholomew,
Simon, Thaddeus. The corresponding female saints on the right are SS.
Katherine, Barbara, Dorothy, Mary Magdalen, No. 5 (?), Margaret,
Agnes, Gertrude of Nivelle, Anne, Apollonia.

The lower left has a king kneeling at a prie-dieu on which is his
crown and an open book. A cardinal kneels behind him but there is no
other ecclesiastic among the seventeen courtiers standing behind. In