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 A SERIES OF DESIGNS 
 
 FOR 
 
 VILLAS AND COUNTRY HOUSES. 
 
SERIES OF DESIGNS 
 
 FOR 
 
 VILLAS AND COUNTRY HOUSES. 
 
 ADAPTED WITH ECONOMY TO THE 
 
 COMFOrxTS AND TO THE ELEGANCIES 
 
 OF 
 
 MODERN LIFE. 
 
 WITH PLANS AND EXPLANATIONS TO EACH. 
 
 Bif C. A. BUSBY, Architect. 
 
 LONDON: 
 
 PRINTED FOR J. TAYLOR, AT THE ARCHITECTURAL LIBRARY, 
 NO. 59, HIGH HOLBORN. 
 
 1808. 
 
T.BensIcy, Printer, 
 
 PiJl Court, ricci bircet, Lyii(Lu:i, 
 
P Ft E F A C E. 
 
 Tii E science of Architecture, to whatever perfection it may have 
 been carried by the exertions of genius, derives its origin from in- 
 ventions of the rudest and most simple kind. It is generally sup- 
 posed that the fiist buildings, if they deserve that name, were con- 
 structed as shelters from the inclemencies of the seasons, and were 
 composed of the branches of trees placed obliquely towards a point 
 at the top, the exterior being covered with leaves or other adven- 
 titious materials. 
 
 But as the centre was the only part in which any person could 
 stand erect, the inconvenience of the conical figure was soon disco- 
 vered, and a more convenient form of construction adopted. Trunks 
 of trees, perpendicularly placed in opposite rows, were connected at 
 their tops by beams extending from side to side ; turf, boughs, and 
 leaves laid upon them, filled up the intermediate spaces, while the 
 lateral parts were closed in a similar manner. In this partial im- 
 ])rovemcnt one grand object was neglected, that of throwing off the 
 rain, which lodged on the flat roof, and penetrated to the interior of 
 the building. To obviate this inconvenience, the roof w as raised in 
 the middle, and made to project from the walls. In these primitive 
 huts we trace the rudiments of the Doric order. 
 
 In future ages, the trunks of trees became columns ; the longitu- 
 dinal beams, architraves; the ends of the transverse pieces, triglyphs; 
 
6 
 
 and the projecting roof, a cornice. The gradations of idea were, 
 doubtless, minute, and the progress of improvement slow; and it is 
 in the structures of ancient Egypt that we first observe any thing 
 worthy the name of Architecture. Of their private buildings we are 
 ignorant; in all countries these are of slight and of fragile construc- 
 tion, and ill calculated to resist the ravages of time. But many of 
 their public buildings and national monuments have outlived the 
 records of the times in which they were raised ; and, in some in- 
 stances, are the only memorials of antiquity. 
 
 The Egyptian Architecture, notwithstanding its incongruities and 
 barbarisms, possesses a striking and characteristic magnificence, 
 chiefly derived from magnitude, peculiarity of form, and excess of 
 ornament. The temples of Egypt, particularly those of Thebes, at 
 Luxor, were on a plan as singular as grand ; each of which may be 
 considered rather as an assemblage of monuments than as one 
 buildino-. 
 
 o 
 
 But the Architecture of Egypt, however well it might be adapted 
 to the religious worship of that country, is in most instances ex- 
 tremely heavy, uncouth, and inelegant : and the artists do not, in 
 fact, appear to have arrived at any great perfection, either in theory 
 or practice. With the construction of an arch they were utterly 
 \macquainted ; and all the roofs of their covered temples are sup- 
 ported by massive transums and crowded columns. 
 
 It was in Greece that the true spirit of Architecture was first mani- 
 fested. There the fostering genius of Pericles inspired a noble emu- 
 lation. The harmony and elegance, symmetry and grandeur of the 
 buildings raised by his direction, have been the theme of admiration 
 for twenty centuries, and at this day are deemed models of perfec- 
 tion. To the Greeks we are indebted for the tliree most beautiful of 
 
the orders of Architecture, the Doric, die Ionic, and the Corinthian. 
 And though, as appears from the great similarity of their buildings, 
 they might not be deeply versed in composition, they laid the founda- 
 tion of a science afterwards to be brought to perfection by the labour 
 and liberality of the Romans. 
 
 Though, as before observed, we are unacquainted with the ordi- 
 nary buildings of antiquity, yet, from the writings of that ornament 
 of the Augustan age, Vitruvius, we derive a minute description of the 
 general forms, proportions, and details of the Temples, Baths, Fo- 
 rums, Basilicas, Theatres, Palaces, and Villas of the Greeks and 
 Romans ; and at the distance of many centuries we are enabled to 
 ascertain the use, and to appreciate the merits, of the grandest struc- 
 tures of antiquity. 
 
 Some persons are of opinion that many of the designs of modern 
 architects are superior to those of the ancients ; but the comparison 
 is unjust : unfortunately Architects of all ages and countries are 
 obliged to submit to national and prevailing customs ; and were the 
 imexecuted designs of the ancients as superior to their buildings as 
 those of the moderns to our present edifices, I doubt not but the 
 balance would be found greatly in favour of antiquity. 
 
 To give a description of buildings adapted to the manners and 
 customs of nations no longer in existence, and the use of which is 
 long gone by, is unnecessary; it is sufficient to observe, that they 
 Avere planned with a strict regard to propriety and convenience ; 
 designed with majesty and elegance ; and executed with the greatest 
 firmness and solidity: and, but for the devastations of war and super- 
 stition, time had still left them almost unimpaired. 
 
 When Rome, after ages of prosperity and improvement, of splen- 
 dour and magnificence, was humbled by the power of barbarians and 
 
8 
 
 her own weakness, ignorance and superstition spread their reign over 
 the fairest provinces of Europe. The practice of Architecture was 
 th.en reduced to the pihng of stones, torn by the remorseless Romans 
 from ancient structures; and in their rude walls we observe the 
 shafts of elegant columns, capitals of exquisite Avorkmanship, and 
 various other fragments of members and mouldings, thrown into a 
 state of the greatest disorder and confusion. During the civil com- 
 motions of the middle ages, many structures were utterly destroyed 
 and the stones frequently burnt to lime as materials for the erection 
 of fortifications and towns. Yet so great and numerous were these 
 resources, that, notwithstanding these depredations, many monuments 
 still remain to testify the former splendour of the science of Architec- 
 ture. The preservation of a great part of the Coliseum (the vast am- 
 phitheatre of Tilus) we owe to the classical respect of a Christian 
 Pontiff', in a barbarous age. 
 
 But it Avas impossible, while such examples were constantly before 
 their sight, that even barbarians could long view them with indif- 
 ference ; and we accordingly find in the early Christian churches, 
 imitations of the ancient manner, afterwards improved by the perse- 
 verance and skill of the monks. At length the vast church of St. 
 Peter reared its head above the humbled, though immortal city; and 
 we may excuse that Pope of a crime who destroyed the Septizonium 
 of Severus, in order to employ the stones in the construction of this 
 famous Basilica. 
 
 The science of Architecture, after this period, gradually resumed 
 a portion of its pristine vigour; and in the buildings of the continent, 
 particularly of Italy, we admire the works of Bramante, Michael 
 Angelo, Palladio, Vignola, and others. Many of their structures 
 are grand and beautiful ; but we are frequently obliged to reprobate 
 their heavy masses and inelegant parts ; while we cannot but lament 
 
9 
 
 that the modern Italians, in their search for novelty and variety, have 
 fallen into errors more gross than could easily have been expected. 
 
 It is a general remark of travellers and foreigners, that the palaces 
 and villas of Italy exceed in grandeur and magnificence those of our 
 own country. In accounting for this superiority, many attribute that 
 to the genius of a nation which is rather the consequence of local 
 circumstances and a despotic government. In Italy the mountains 
 abounded with stone, and the forests with timber ; every nobleman 
 was, till lately, an independent prince ; and the leisure of a people, 
 not engaged in commerce or manufactures, was employed in the erec- 
 tion of splendid palaces, elegant villas, and stately terraces, to gratify 
 their vanity and caprice. The inhabitants of Britain have, on the 
 contrary, been more actively employed in gathering together the 
 treasures of the world. But when the liberality of the nation, or the 
 taste of an individual, has been directed towards the building art, 
 the genius of her Artists has generally equalled, and sometimes sia- 
 passed their continental competitors. The magnificence of Blenheim 
 and Castle-Howard, the grandeur of Holkham and of Wanstead House, 
 rival the proudest examples of Italian splendour. 
 
 Architecture in England was, however, for a length of time, in 
 a humble and degraded slate. The British nation regards the genius 
 of Inigo Jones as the reviver of the art. Many grand buildings were 
 erected under his direction, and though, in some instances, the details 
 are defective, a greatness of style generally pervades his designs, and 
 gives him a conspicuous place in our catalogue of distinguished 
 Architects. At length, the devastation made by the fire of London 
 presented a scope for the display of the greatest talents ; and a man 
 was found not unequal to the occasion. The Cathedral of St. Paul's, 
 and the other works of Sir Christopher Wren, are justly the boasts of 
 England, and the admiration of foreigners ; and the names of Van- 
 
 B 
 
10 
 
 burgh and Campbell, of Carr and Chambers, will ever be held in 
 respectful esteem. 
 
 About the year 1764, Robert Adam, one of the projectors of the 
 Adelphi in London, published a splendid work on the ruins of 
 Diocletian's Palace at Spalatro, in which that Roman Emperor, after 
 his abdication, wished to pass the remainder of his life. This exten- 
 sive building was intended to possess every accommodation with 
 which the Romans were acquainted ; and the first Architects of the 
 time were employed in its construction ; but the arts had declined ; 
 and though some of the smaller parts merit our commendation, it 
 forms, upon the whole, a forcible example of the decay of genius, 
 and of the depravity of taste, of the mighty empire of Rome. 
 
 This publication introduced the author and his brothers to the 
 notice of the public, and produced a remarkable change in the taste 
 of the day. It appears that Adam, in the course of his laborious 
 researches, had imbibed the style and manner of the Architects whose 
 works he had been employed in elucidating. Thus we observe in 
 the Adelphi, and in his other works, the same misapplication of 
 members and redundancies of ornament. We see pilasters whose 
 shafts are embellished with flowers and foliage; and pateras and 
 vases most unmeaningly introduced. Yet it cannot be denied that 
 some of his designs are elegantly conceived, and beautiful in their 
 effect ; an example of which may be instanced in the entrance to the 
 Park of Sion House ; though the incongruity and confusion so pre- 
 valent in the decorations, must always be adverse to true taste. The 
 apphcation of Corinthian leaves to the Doric capital, and the adop- 
 tion of the most trivial ornaments where strength and solidity should 
 be the prominent characteristic, cannot but displease the most indif- 
 ferent spectator. 
 
11 
 
 Chambers and Adam being contemporaries, it is somewhat sin- 
 gular that their styles should be so dissimilar ; the former possessing 
 a correct and classical taste, derived from the study of the most 
 admired examples of the ancients ; while the latter appears a man- 
 nerist, and a mere imitator of their defects. Yet the buildings of 
 his time prove that the caprice of fashion and the love of novelty 
 procured him a majority of votaries. This ebullition of a false taste 
 having now subsided, the latter is considered only as an Artist of 
 enterprize and abilit\'; while the fame of Chambers has spread over 
 the most enlightened regions of the world. 
 
 Till lately the moderns were ignorant of Grecian Architecture, 
 properly so called. It was usually included and confounded with 
 the Roman. There is, however, a very striking distinction. About 
 30 years since, Stuart and Rivett published, from actual admeasure- 
 ments, a complete and accurate elucidation of all the Grecian build- 
 ings then remaining in Athens. This work has ultimately produced 
 a considerable effect on the present taste in Architecture ; and now, 
 in almost all new buildings, Grecian members and ornaments are so 
 prevalent as to obtrude themselves on the notice of the most super- 
 ficial observer. 
 
 The Grecian style possesses many peculiarities which render it 
 particularly well adapted to small and simple buildings. The bold- 
 ness of its parts gives consequence to the most limited edifices ; and 
 its elegant ornaments are admirably suited to domestic buildings ; 
 but for the sake of singularity, and the gratification of vanity, they 
 have, in many instances, been so distorted and disfigured by tasteless 
 professors, as scarcely to retain an}' traces of their beautiful original. 
 
 Of all the vanities which a sickly fashion has produced, the Egyp- 
 tian style in modern Architecture appears the most absurd : a style 
 
n 
 
 which, for domestic buildings, borders on the monstrous. Its massy 
 members and barbarous ornaments are a reproach to the taste, of its 
 admirers; and the travels of Denon have produced more evil than 
 the elegance of tiie engravings and splendour of his publication, can 
 be allowed to have compensated. 
 
 Some persons have thought the public taste has been vitiated by 
 the numerous books of designs for villas and cottages which have 
 been published within these few years, and that gentlemen who 
 would otherwise have employed an Architect of acknowledged skill 
 and taste, have been induced to forego such necessary aid. This is 
 an erroneous opinion. The fact is, that gentlemen, instead of de- 
 pending on their own judgment, or on that of some ignorant, unqua- 
 lified builder, have generally availed themselves of the advice and 
 personal assistance of the authors of these works; and that the public 
 taste, having had the advantage of such guides, has consequently 
 been refined and improved, there can be little doubt : however, 
 the partiality for thatched cottages and houses has lately been 
 carried to an excess ; since in many instances the comforts and ele- 
 gancies, and sometimes even the conveniencies of life, have been 
 sacrificed to the affectation of rural simplicity and rustic eftect. 
 
 Some modern theorists have advanced as a maxim, that the ap- 
 pearance of regularity in rural buildings should be studiously avoided ; 
 and they have endeavoured to draw a parallel between the produc- 
 tions of nature and the works of art. They say that the most beau- 
 tiful aspects of nature are composed of irregular masses, and assem- 
 blages of light and shade; and that a similar and corresponding 
 character should be given to every thing which forms a part of the 
 scene. This argument may at first appear plausible, but will not 
 hold if we reflect, that in all landscapes where the building does not 
 form a principal, the artists ought to consider that it forms only a 
 
13 
 
 component part of the scenery; and that all the beautiful effects of 
 light and shade, of colour and outline, are produced by the contrast 
 of the regularity of the building with the picturesque variety of na- 
 ture ; and it will be found that in such situations the most simple 
 building will be the most pleasing ; for numerous divisions and com- 
 plexity^ of design distract the attention, and divert the mind from the 
 general effect. On a nearer view, the defects of this irregularity are 
 much more obvious ; for the building then becomes the principal, 
 and the landscape an inferior consideration. Yet it is necessary that 
 every building shoidd have some general character and principal 
 part, which at the first view should impress themselves on the atten- 
 tion of the beholder; otherwise the eye wanders from part to part 
 Avithout finding any thing of sufficient importance to arrest its atten- 
 tion ; and the mind, instead of being interested and satisfied, becomes 
 disappointed and fatigued. Such is the consequent effect of irregu- 
 larity, for, as the term itself implies, it is the absence of a principal 
 part, or general character. 
 
 Upon the whole, however, it must be allowed that the Architec- 
 tural taste of the moderns, has within the last century considerably 
 improved. We now rarely observe those weighty members, massy 
 ornaments, and gloomy aspects, so prevalent in the rural structures 
 of our ancestors : and the true impressions of cheerfulness, elegance, 
 and refinement, are so well understood and so happily united in our 
 modern domestic dwellings, that I hesitate not to say we are rapidly 
 advancing to a state of perfection. 
 
 No. 36, 
 Queen Ann Street West. 
 
14 
 
 , S. Having, since writing these observations, been honoured with 
 the Gold Medal of the Royal Academy, for an Architec- 
 tural Drawing, being " a Design for a Building to contain the 
 Royal Academy, tcith the Royal and Antiquarian Societies," grati- 
 tude for this pubhc honour requires that I should embrace this 
 opportunity, and avow my sensibility of so flattering a distinc- 
 tion, lest I should appear to undervalue the highest reward of 
 the Royal Academy. 
 
DESCRIPTION OF THE PLATES. 
 
 PLATE I. 
 
 Design for a small Country House, consisting of a Ground Floor, 
 
 containing Six Rooms. 
 
 This design would be appropriate to the accommodation of a small 
 famil}^ and might be elegantly decorated. It would also form a 
 handsome lodge at the entrance to a Park ; and might become the 
 residence of a gate-keeper or bailiff; or could be divided into two 
 smaller tenemenls. The front is adorned with a Doric portico and 
 pediment, and the whole should be stuccoed in imitation of stone. 
 
 PLATE IL 
 
 Design for a Villa. 
 
 This building contains all the conveniencies usually required for a 
 small respectable family. It is so planned that the offices are sepa- 
 rated from the other parts of the house. The parlour and sitting- 
 room are of handsome proportions ; and in summer the hall would 
 become a very desirable apartment. The doors of the parlour and 
 silting-room would be considerably widened, and the three might 
 then be thrown into one. The bed-rooms, which are four in num- 
 ber, are so contrived as to be completely out of sight in the front of 
 ihe house. 
 
It; 
 
 PLiVTE 111. 
 Design for a Villa. 
 
 All the apartments, except the bed-rooms, are on the ground 
 floor ; the elevation, in the Roman style, is adorned with a portico 
 of the Ionic order; the center is surmounted by a dome. This design 
 is small and compact, and would form a commodious and desirable 
 residence. 
 
 PLATE IV. 
 
 Design for a Country House. 
 
 This house consists of two floors. On the ground are the parlour 
 and drawing-room, at the back of which is the kitchen, above are 
 three bed-rooms. The external appearance of the building is neat 
 and simple ; and it would form a pleasant occasional retreat to a 
 gentleman engaged in business. 
 
 PLATES V. and VI. 
 
 Design for a Double House. 
 
 The entrance to each dwelling is on the side. The plan is so 
 divided that each has a good room in the center of its front. The 
 parlours and drawing-room may be thrown together by folding doors. 
 The kitchen, wash-house, &c. are below stairs. Each house has 
 three bed-rooms, on the one-pair floor. In the external appearance 
 these two dweUings form one uniform building. 
 
17 
 
 PLATES VII and VIII. 
 
 Design for a Villa. 
 
 Simplicity is the character of this design, A portico of Greek 
 Doric columns occupies the center of the elevation ; on each side of 
 which is a window down to the ground. This building is proposed 
 rather as an occasional than a constant residence. The plan, how- 
 ever, affords sufficient accommodations for a small family, desirous 
 of enjoying in seclusion the pleasures of rural retirement. 
 
 PLATES IX and X. 
 
 Design for a Villa. 
 
 In this design the offices are in the basement. The sitting-rooms 
 on the ground floor, and the bed-rooms on the one-pair. Consider- 
 ing the dimensions of the house, the accommodations are numerous, 
 and particularly suitable to a moderate sized family. In the front of 
 the house, between the projecting wings, is a Doric portico ; over it 
 is a balcon}^ to which a handsome varanda would be no inconsider- 
 able improvement. 
 
 PLATES XI and XII. 
 
 Design for a Villa. 
 
 In the spring of 1807, this design was executed in Nightingale 
 Lane, Clapham Common ; from whence it has acquired the name 
 of Nightingale Cottage. It contains in the basement all the offices 
 and servants' bed-rooms. On the ground floor a parlour and draw- 
 ing-room, with a hall between them, which may be occasionally 
 
 c 
 
18 
 
 thrown open and form a very large room. Behind are two bed- 
 rooms and a sitting-room. Above is a room, which in summer has 
 been appropriated to tea parties. Another room on the same floor 
 forms a hbrarj. Over the bed-rooms on the ground floor, that is, in 
 the roof of the wings, are two more rooms, which are not to be dis- 
 covered from the exterior of the building. And it is a fact which I 
 am allowed to state, that the numerous accommodations in this house 
 have, on inspection, surprised most persons who judged of it only 
 by its external appearance. ^ 
 
 PLATES XIII and XIV. 
 
 Design for a Country House. 
 
 This design, containing all the accommodations usually required 
 by a genteel family, is well calculated for the residence of a gentle- 
 man of small fortune. The apartments are of suitable dimensions, 
 and sufliciently numerous. The kitchen and wash-house, together 
 with the servants' bed-rooms, are separated from the other parts of 
 the house ; and the interior admits of being decorated according to 
 the taste of an enlightened proprietor. 
 
 PLATES XV and XVI. 
 
 Design for a Country House. 
 
 The conveniences in thi'j house are much the same as those in the 
 preceding plan. The arrangements, however, are somewhat dif- 
 ferent. The drawing-room has a bow with three windows, which 
 projects from the building ; but the principal variation is in the ele- 
 vation. A house upon this plan might, Avith little difticulty, be 
 divided into two. x\nd though each would be small, they might be 
 both commodious and elegant. 
 
19 
 
 PLATES XVII and XVIII. 
 
 The accommodations of ihis design are so like the preceding, that 
 the reader is referred to the plates, Avhere the apartments with the 
 dimensions are marked, to observe the difference. The elevation is, 
 nevertheless, very dissimilar, and would form no unpleasant object 
 in rural scenery. 
 
 PLATES XIX and XX. 
 
 Design for a Villa. 
 
 To a gentleman of affluence and taste this design, it is presumed, 
 is particularly suitable. The apartments are spacious and numerous. 
 A hall adorned by columns, pilasters, niches, and a suitably elegant 
 staircase, are proper accompaniments to the decorations of the other 
 apartments. In attending to the luxuries, the conveniences of life 
 liave not been neglected. The back part of the house contains six 
 handsome bed-rooms, with dressing-rooms; and in the basement 
 there is ample space for offices of every description. In the prin- 
 cipal front is a portico of four Grecian Ionic columns, the ascent to 
 which is by a double flight of five steps ; and the broad terrace in 
 the front of the wings, will considerably improve the general effect. 
 
 PLATES XXI and XXII. 
 
 Design for a Villa. 
 
 The principal front of this edifice is adorned by a circular portico 
 of the Doric order, on each side of which are three pilasters. Be- 
 tween these are French windows, and the center of the buildino- is 
 
20 
 
 crowned by a dome. The internal divisions, as shewn on the plan, 
 are adapted to the conveniences of modern life : and in this, as in 
 most of the preceding designs, the author has separated the servants' 
 apartments from the other parts of the house. 
 
 PLATES XXIII and XXIV. 
 
 Design for a Villa. 
 
 The principal apartments, including two best bed-rooms, are in 
 this design on the ground floor. The center of the building, how- 
 ever, rises above the wings, and will contain four bed-rooms. The 
 drawing-room 29 by 21 feet, and the library 23 by 20, by opening 
 a pair of folding doors may be thrown into one, and will together 
 form a room 52 feet in length. The large portico in the front is of 
 the Ionic order. The pilasters which ornament the wings are Doric, 
 surmounted by an entablature and bulustrade. The whole of the 
 servants' offices are concealed in the basement. 
 
 THE END. 
 
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A LIST OF BOOKS 
 
 ON THE VARIOUS BRANXHES OF 
 
 ARCHITECTURE AND BUILDING, 
 
 I'UDLISHED BV 
 
 J. TAYLOR, at tlie Architectural Library, 
 No. 59, HIGH HOLBORN, LONDON. 
 
 DOMESTIC AND ORNAMENTAL ARCHITECTURE. 
 
 1. "pvESIGNS FOR VILLAS ami other Rural Buildings. By 
 \_J Edmund Aikin, Architect, with I'lans and Explanations. 
 
 I'ogether with an introductory Essay, containing Remarks on 
 the prevailing D-efects of Modern Architecture, and an Inves- 
 tigation of the Style best adapted to the Dwellings of the pre- 
 sent Time. On 31 Plates, large Quarto, il. lis. 6d. Boards. 
 
 2. A Se>-w.i of Des'igm for Villas and Coiailn/ Houses; adapted 
 
 with Economy to the Comforts and to the Elegancie? of Modera 
 Life ; with Plans and Explanations to each ; to which is pre- 
 fixed, an Essay on Modern architectural Taste. By C. A. 
 Busby, Architect. Elegantly engravctl on 24 Plates, large 
 Quarto, il. 5s. Boards. 
 
 3. Architectural Designs for Rustic Cottage:, Picturesque Duell- 
 
 ings, Villas, &c. with appropriate Scenery, Plans and Descrip- 
 tions; to which are prefixed some critical Observations on their 
 Style and Character ; and also of Castles, Abbies, and ancient 
 English Houses; concluding with Practical Remarks on Build- 
 ing, and the Causes of the Dry Rot. Bv W. E. Pocock, 
 Architect. Elegantly engraved on 33 Plates, large Quarto, 
 Price il. IIS. 6d. in Boards. 
 
 4. Sketches in Architecture, consisting of original Designs for Cot- 
 
 tages and Rural Dwellings, suitable to Persons of moderate For- 
 tune, and for convenient Retirement ; with Plans and appro- 
 priate Scenery to each ; also some general Observations. Bv 
 T, D. \V. Dearn, Architect lo His Hovnl Highness the Duke of 
 Clarence. Elegantly engraved on 20 Plates, large Quarto, Price 
 ll. 7s. in Boards. 
 
 5. Plans, Elevations and Sections of Hot-Houses, Green-Houses, 
 
 an Aquarium, Conservatories, &c. recently built in different 
 Parts of England, for various Noblemen and Gentlemen. By 
 G. Too, Surveyor and Hot-House Builder. Including a Hot- 
 House andaGreen-House in HerMajestv'sGardensatFrosmore. 
 On 27 Plates, elegantly coloured, with proper Descriptions, 
 (Folio.) 2I. I2S. 6d. in Boards. 
 
 6. Lt/gar's Country Gentleman's Architect, containing a Variety 
 
 of Designs for Farm Houses and Farm Yards of different Mag- 
 pitudes, arranged 011 the most approved Principles for Arable, 
 
Books pullisked hj J. TAYLOR, High Uollorn. 
 
 Grazing, Feeding and Dairy Farms, with Plans and Sections, 
 shewing at large the Construction of Cottages, Barns, Stables, 
 Feeding Houses, Dairies, Brewhouse, &c. with Plans for Stables 
 and Dog-kennels, and some Designs for Labourers' Cottages and 
 small Villas. The whole adapted to the Use of Countrv Gen- 
 tlemen about to build or to alter. On 21 Plates, with full Ex- 
 planations to each. Quarto, il. 5s. in Boards. 
 
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