The few drawings in the Smithson collection which refer to Bolsover are all, except one, connected with the castellated portion, and they go to prove that John Smithson must have been concerned with that particular building. But there is one drawing of a large doorway (No. 40) which closely resembles the central doorway on the terrace front of the gallery, and the general detail of this building, which is large in scale, heavy and rather spoilt by laboured freaks, is akin to much else that is to be found among the Smithson drawings. This gallery block is evidently of two dates. The eastern portion has a certain amount of detail in the simpler style of the Jacobean period, while that of the western half is more laboured and contorted. At the eastern end are five small projecting stones bearing initials and dates; one of them has on it H. S. 1629, and may conceivably commemorate Huntingdon Smithson. But as it has four neighbours with other initials and the dates 1629, 1630, it would appear that in any case he was only one out of five persons entitled to recognition. However, the evidence of tradition, the date-stone and the drawings clearly point to the Smithsons being responsible for the design of the buildings generally, and it may well be that the influence of the father is visible in the earlier and simpler work, and that of the son in the grandiose gallery, with which he may have been busy at some time between his father’s death in 1634 and the outbreak of hostilities in 1642. The riding-house is much quieter in treatment than the gallery, and its detail is more refined. In spite of the tradition that the designs were collected in Italy, the work shows more affinity to Dutch models than to Italian, as may be gathered from the illustrations (Figs. 13, 16). The riding-house at Welbeck (Fig. 20) follows the established lines in its treatment; it has steep gables with finials, mullioned windows, and an open hammer-beam roof: the very heavy pediments over the doors are in keeping with those at Bolsover, and with many other details in the collection, and they show how crude Smithson was in his treatment of classic features. It is important to bear this in mind, because he may be considered (although he had an uncommonly heavy hand) as typical of the majority of English designers before the influence of Inigo Jones began to be felt.