4to, half title, title, preface, comprising pp. v-v viii; contents 1 leaf, verso blank, text, pp.1-91, p. 92 with imprint of S. and R. Bentley, 6 aquatint plates signed R. Morris del., and imprint of J. Taylor undated, first three hand coloured, one uncoloured, two in sepia with overlays (in style of Repton’s publications), later full red morocco elaborately gilt by Strikeman, multiple gilt borders, enclosing floral motif in gilt, spine richly gilt in compartments, gilt edges. Morris’ essay is an important exposition of the principle of design common to landscaping and to country house architecture in the first quarter of the 19th century. He divided the text into eight essays, on situation and style, external decorations, layout of grounds, planting, water, rural ornaments, distant scenery and general appearances. Although Morris’ work was useful because of its scope, it has been remarked that it was hardly original. Archer’s descriptions of Morris’ plates refer to Repton’s earlier representational scheme, using one landscape view to show three different houses each located in an appropriate setting. The houses, all in classical style, were articulated to suit their respective locations. (However, see also footnote to Morris’s Panorama of Regent’s Park below.) Archer refers to Whately (see below in this catalogue) and Marshall with relation to Morris' essays on grounds, planting, water etc. A poem was written on the subject of early 19th century architecture and the question of situation and form, so dear to architects of this period. This was finally attributed to Morris: “He that intends an architect to be / Must seriously deliberate like me;/ Must see the Situation / Mode and Form / Of every Structure which they would adorn.” Coloured plates in order: 1. Different situations of Houses. 2. Plan of pleasure grounds surrounding a Villa. 3. Plan of a Flower Garden & Rosary. 4. Decorated -Scenery (sepia with overlap). 5. Waterfall (sepia). 6. View improved (sepia with overlap).