On the right hand, a wing of lower buildings runs forward from the main erection, forming, as it were, one side of a court. These buildings turn their gables toward you, and are covered with ivy. On the left hand, but standing back in a stable-yard, are the outbuildings, seeming, however, to balance the whole fabric, and giving it an air of considerable extent. All round, adjoining the buildings and along the avenue, grow evergreens in tall and luxuriant masses. On the other side of the house lies the old garden, retaining all the characters of a past age. The center consists of a fine lawn; the upper part of which, near the house, has recently been laid out in fancy flower-beds, in the form of a star, and corner beds to make up the square. The rest appears as it might be when Addison left it. On the right a square-cut holly hedge divides it from the fields, which are scattered with lofty trees, among which are foreign oaks, said to be raised from acorns brought home by the poet. To the left, the garden is bounded by a still more massy square-clipped hedge of yew, opening half way down into a large kitchen-garden, being, at the same time, at the upper end, an old Dutch flower-garden. At the far side of this garden, opposite to the entrance through the yew hedge, is an alcove, and down that side extends the lime avenue, called Addison's Walk. At the bottom of this garden are fish-ponds, and in the field below an oak wood. Thus, amid lofty trees, some of them strong, old, and crooked, presenting a scene worthy of making part of a picture of Claude Lorraine, you look down over the garden to rich fields descending into the country below. At the bottom right-hand corner is an alcove, shut in by a group of evergreen shrubs and pine-trees from the house, but overlooking the fields and woodlands, called Addison's Seat; and a very pleasant seat it is, full of quiet retirement. Such is the exterior of Bilton. The interior of the main part of the house consists principally of two large rooms, a dining and drawing room. These extend quite through, are lighted at each end, and the projection in front forms a sort of little cabinet in each room. These two fine large rooms are hung round with the paintings placed here by Addison: whether they are few and of no intrinsic value will soon be seen. In the dining-room are, first, full-lengths of James I., by Mark Garrard; Lord Crofts, Villiers, duke of Buckingham, by Balthazar Gerbier; the Duke of Hamilton, Henry Rich, earl of Warwick, Prince Rupert, and Prince Maurice, all by Vandyck; Sir Thomas Middleton, the Countess of Warwick's father, by Sir Peter Lely; and in the small division in front of the room, Chief Justice the Earl of Nottingham, by Michael Dahl; Mr. Secretary Craggs, by Sir Godfrey Kneller, a man of fair complexion, and handsome, amiable countenance, in a light blue dress; Sir John Vanburgh, by Verelst; and Lord Halifax, by Kneller. These are chiefly three-quarter figures.