There are no elevations preserved which fit these plans, but Smithson has left a number of specimens of his way of dealing with the exterior of his buildings. The most important in size is illustrated in Fig. 17. It follows the usual lines of the period with its mullioned windows, large horizontal cornices, arcaded entrance, balustraded parapets, and curly central gable; but it is rather clumsy compared with most of John Thorpe’s elevations. So, also, is the elevation of “My Ladye Cookes house in Houlborn” (Fig. 18) to which additional interest is lent by the fact that it is dated 1619. This front, with its large dominating pediment and circular-headed window has a later touch about it, and has lost most of the light-hearted piquancy which characterises the work of the preceding fifty years. [Illustration: FIG. 18.--Lady Cook’s House in Holborn, 1619. From the Smithson Collection.] [Illustration: FIG. 19.--PERSPECTIVE OF PALACE, WHITEHALL.] [Illustration: FIG. 20.--THE RIDING-HOUSE AT WELBECK, 1622. From the Smithson Collection.] [Illustration: FIG. 21.--The Italyan grate over the Watter. A newe Italyan wyndowe, the gallerye at Arrundell house. The newe Italyan gate at Arrundell house in the garden there, 1618. From the Smithson Collection.] The hankering after Italian detail which had affected English designers in an increasing degree for many years finds expression in the Smithson drawings, among which are several “Italyan” windows and doors, an “Italyan” gate (Fig. 21), and one or two “pergulars.”