Little Moreton Hall intact, but financially they were crippled. They tried to sell the entire estate, but could only dispose of several parcels of land. William Moreton died in 1654 leaving debts of £3,000–£4,000 (equivalent to about £12–16 million as of 2010), which forced his heirs to remortgage what remained of the estate. The family's fortunes never fully recovered, and by the late 1670s they no longer lived in Little Moreton Hall, renting it out instead to a series of tenant farmers. The Dale family took over the tenancy in 1841, and were still in residence more than 100 years later. By 1847 most of the house was unoccupied, and the deconsecrated Chapel was being used as a coal cellar and storeroom. Little Moreton Hall was in a ruinous condition; its windows were boarded up and its roof was rotten. During the 19th century Little Moreton Hall became "an object of romantic interest" among artists; Amelia Edwards used the house as a setting for her 1880 novel Lord Brackenbury. Elizabeth Moreton, an Anglican nun, inherited the almost derelict house following the death of her sister Annabella in 1892. She restored and refurnished the Chapel, and may have been responsible for the insertion of steel rods to stabilise the structure of the Long Gallery. In 1912 she bequeathed the house to a cousin, Charles Abraham, Bishop of Derby, stipulating that it must never be sold. Abraham opened up Little Moreton Hall to visitors, charging an entrance fee of 6d (equivalent to about £8 in 2010) collected by the Dales, who conducted guided tours of the house in return. Abraham carried on the preservation effort begun by Elizabeth Moreton until he and his son transferred ownership to the National Trust in 1938. The Dale family continued to farm the estate until 1945, and acted as caretakers for the National Trust until 1955. The Trust has carried out extensive repair and restoration work, including re-roofing; restoration of elements of the hall's original appearance, and removal of some painted patterning added during earlier restoration work. The familiar black-and-white colour scheme is a fashion introduced by the Victorians; originally the oak beams would have been untreated and left to age naturally to a silver colour, and the rendered infill painted ochre. In 1977 it was discovered that the stone slabs on the roof of the south range had become insecure, and work began on a