The next plan (Fig. 100) is that of a house with a fore-court, only (as explained on the drawing itself) the court, with its diagonally placed entrance lodges, should have been drawn on the front of the house instead of being detached and at the back. But this correction made--and it will be easier done by looking at Kip’s view (Fig. 101)--it will be seen that a reminiscence of the old jealousy of approach is still found in the walled court and its entrance lodges; otherwise the house is obviously built without a thought of protection. It is contrived for display combined with convenience. Its terraces and long symmetrical fronts are the means towards the first, while the second is greatly helped by the passage, or “longe entry throughe all,” which runs the whole length of the house. This is a feature quite new in house planning, so far. Otherwise the ancient dispositions are adopted; the hall lies to the right of the screens, and beyond it the parlour and chapel; to the left the buttery, pantry, and (at some distance) the kitchen. Kip’s view shows the dignified but simple treatment of the exterior, and the surrounding courts and gardens. The plan is not named in Thorpe’s drawing, but it agrees so closely with Kip’s view as to leave little doubt that it is the same house--namely, Beaufort House in Chelsea, built by Robert Cecil, Earl of Salisbury, during the closing years of the sixteenth century, by way either of enlarging or replacing an earlier house, which had been the home of Sir Thomas More. [Illustration: 100. Ground Plan (unnamed). _From the Thorpe Collection._ It is probably Beaufort House, Chelsea.] [Illustration: 101. Beaufort House, Chelsea, Kip’s View.] [Illustration: 102. Ground Plan (unnamed). _From the Thorpe Collection._]