NEW EDITION. 619 pages. 8vo, (22.5 x 18 cm) engraved portrait of Repton by Hall after S. Shelley. "In the copies with the engraved coloured, the colouring is a faithful imitation of that in the plates in Mr. Repton's volumes, as originally published:" [p.xii]. No further volumes of Loudon's proposed series followed. 253 wood-engraved illustrations; illustration on p.31 has the overslip.." Originally published in one folio and three quarto volumes, and now comprised in one volume. Dorothy Stroud, Repton's biographer, considers this to be "the most reliable biographical material. available." 32 pages of adverts at rear, early ownership signature, title page head, small bookplate, 2 x 1.5 inches front cover paste-down. Clean, very fresh, and bright copy. Modern green morocco raised bands in blind. Spine lettered and ruled in gilt. A fine example. Coloured plates in order: 1. Landscape with overslip. It represents a landscape in which it is proposed to make specific alterations. ('Before and after' scenes). 2. A scene in the garden at Brandsbury, where a fence of pales is used instead of a sunken fence, or, a ha! ha! 3. Garden scene at Brandsbury, with the sunk fence substituted for the pales. 4. Rivenhall Place, in its gloomy and sequestered state. 5. Another view of Rivenhall Place, shewing its formal canal and bridge. 6. Rivenhall Place is rendered picturesque and cheerful by the removal of the tall trees and bushes which encumber the house... 7. The old red house, with the blue slate roof of the laundry rising over it and choked up with the adjoining shrubbery. / The old red house altered by adding battlements and changing its colour from a red brick to a cream-coloured stone... 8. The entrance front of Welbeck, with the entrance porch on the ground floor... 9. The west or entrance front of Welbeck altered by raising the earth above the lower storey, and thus placing the house upon an eminence... 10. View of the water at Welbeck; introduced to shew the effect of a Grecian or Roman building, or one in which horizontal lines prevail. 11. View of the water at Welbeck; introduced to shew the effect of Gothic architecture, or buildings of old date, in which perpendicular lines prevail. 12. The gate used at Welbeck, in which perpendicular lines prevail... 13. Grecian Architecture on which horizontal lines prevail, contrasted with round-headed trees. 14. Gothic Architecture in which perpendicular lines prevail, contrasted with round-headed trees. 15. Grecian Architecture of horizontal lines, contrasted with spiry-topped trees. 16. Gothic Architecture, or that in which perpendicular lines prevail, contrasted with spiry-topped trees. 17. Oblique view of the avenue at Langley Park. 18. Effect of cutting down some of the trees in the same avenue at Langley Park. 19. Avenue at Hanslope Park. 20. Part of the avenue at Hanslope Park cut down... 21. View of the lake and some of the large oaks at Welbeck, being the ground in front of the house was raised... 22. The lake at Welbeck altered so as to assume the character of a river, and the ground being raised near the house... 23. View from the house at Tatton, shewing the effect of the net fence as a false scale, which lessens the size of the nearest water... 24. View from the house at Tatton, with the net fence removed and cattle added to serve as a scale... 25. A view at Castle Hill, seen disadvantageously, for the want of cattle or other moving objects in the foreground... 26. The view of Castle Hill, with cattle introduced in the foreground. 27. View from the tower at Wembly, in which there is an evident confusion; and the chief circumstance attracting notice is the smoke of a distant limekiln seen in the horizon. 28. View from the tower at Wembly, in which it attempted to shew how breadth of light and shade is produced... 29. View from the house at Lathom, in which a pond is so near the eye that its glare prevents the lawn beyond it from being seen to advantage. 30. View from the house at Lathom, shewing the effects of removing the pond and the introduction of moving objects. 31. View of the Town of Knutsford, from the background of which the road proceeds to Tatton Park. 32. View of the Town of Knutsford, as proposed to be improved, and shewing, in the background, a new entrance-gate and lodges to Tatton Park. 33. 'Landscape and Gardening' (small vignette at the foot of text, page 121). 34. Diagram to shew the use of the human figure as a scale for measuring objects. 35. View from the house at the Fort, near Bristol, as it appeared before it was improved. 36. View from the Fort, as proposed to be improved. 37. View from Wentworth House, before it was improved and while the improvements were going forward. 38. View from Wentworth House, shewing the effect intended to be produced by the alterations. 39. View from the Thames from Purley in the morning. 40. View of the Thames from Purley, in the evening. 41. View from the approach to Wycombe House before it was altered, by cutting down the trees in the island &c. 42. View from Wycombe House, as it will appear when the proposed alterations in the approach are carried into effect. 43. View in the park at Wentworth, before certain trees were removed, which exclude a view of the water from the approach 44. View from the approach in the grounds at Wentworth, on the supposition that certain trees and bushes shewn [previously] are removed. 45. Bridge in the grounds of Hareward Hall, shewing the artificial disposition of masses of stone in imitation of ledges of rock in the bed of the river. 46. Artificial groups of trees, as in Park scenery... 47. Natural groups of trees, as they appear in Forest scenery. 48. A clump, as usually seen on commons, compared with Mr. Marsham's mode of planting stumps of trees and thorns. 49. Stumps of trees and thorns planted in Mr. Marsham's manner after a few years' growth. 50. Screen of wood which bounds the park at Milton Abbey. 51. Screen at Milton Abbey, which shuts out Castor field, with an attempt to break the browsing line by open plantations. 52. Screen at Milton Abbey, which shuts out Castor field, with an attempt to break the browsing by close plantations. 53. Trees of different ages, characters, and heights, but each having the browsing line formed by cattle, of the same height 54. Trees of different ages, characters, and heights, pruned by man, in which the scale formed by the browsing line is destroyed. 55. View from the house at Shardeloes, shewing the beech woods before they were broken and varied. 56. View from the house at Shardeloes on the supposition that certain proposed improvements have been carried into execution. 57. Map of Bulstrode, shewing the course of the drive. 58. View of Farm Lands, shewing the bad effect of hedgerows and ridges with reference to Park scenery. 59. The Farmlands shewn [previously] with the hedgerows and ridges removed and planted in the style of Park scenery. 60. View of the flower garden at Valley Field. 61. Pavillion and green-house suggested for the Gothic mansion at Plas Newyd, as seen by moonlight. 62. View from the drawing-room at Sufton Court, before a row of trees was removed, and some masses of wood partially broken. 63. View from the drawing-room at Sufton Court, as it will appear when certain trees [previously] shewn are removed. 64. Scene in the grounds at Attingham. 65. View of Burley with its ancient brick terrace walls. 66. View of Burley, with the low brick terrace walls removed and a stone terrace wall substituted. 67. Elevation of the proposed entrance to Harewood Hall. 68. View of the town of Harewood, shewing the gateway to Harewood Hall at the farther end. 69. View of the entrance to Blaize Castle before the lodge was built. 70. Entrance lodge to Blaize Castle. 71. View of the Doric portico in Stoke Park, in which the size of the building is in harmony with the size of the adjoining trees. 72. Gothic Cottage. 73. Rustic thatched hovel, on the summit of a naked brow, commanding views in every direction. 74. Principal view from the house at Blaize Castle, which is considered too sombre for the character of a villa. 75. View from the house at Blaize Castle, enlivened by a cottage in the distance. 76. Greenhouse, with the piers covered externally with trellis-work. 77. House in Langley Park, the architecture of which is unworthy of its situation. 78. House at Langley Park as altered. 79. View of Michael Grove, as it appeared previously to the removal of the stables. 80. View of Michael Grove, shewing the effect of removing the road, walls, and stables... 81. Villa at Brentry Hill, near Bristol, given as a specimen of economy united with compactness and adapted to its situation, character, and uses. 82. Port Eliot, St. Germain's, before the Abbey was united with the mansion. 83. Port Eliot, as it will appear when the mansion is united with the Abbey by the cloister. 84. Ashton Court. The old part built in the reign of Henry VI (left side), / The new part added in the reign of George III (right side.) 85. Map of Bayham Park 86. Panoramic view, shewing the situation intended for the mansion at Bayham. This view is taken from the hill in Terrace-field... 87. View, shewing Bayham Abbey as proposed to be built. 88. A portion of the view [shown previously] on a larger scale. 89. [six colour balls and their relationship to each other when mixed together in different proportions]. 90. General Ground Plan of the Pavilion and Gardens at Brighton. 91. View of part of the Stale-front of the Pavilion at Brighton, previous to the removal of certain trees, which obscured the stable dome. 92. View of the Stable-front of the Pavilion at Brighton, as seen from the lawn. 93. View of the Garden of the Pavilion at Brighton, shewing the corridor and the pool as they will appear from the stable yard... 94. View from the Lawn in front of the stables... 95. West front of the Pavilion. 96. View of the Dining-room in the Pavilion at Brighton. 97. General view from the Pavilion before it was improved agreeably by Mr. Repton's designs. 98. The general view from the Pavilion. 99. Perspective view of the west corridor, as supposed to be seen from the Pavilion. 100. Design for Orangery, as it is supposed to appear in the winter season. 101. View from the Orangery, changed into the character of a chiosk by the removal of the glass sashes and part of the framework and the substitution of appropriate furniture, drapery &c. 102. View of the Pheasantry at the Pavilion, surmounted by a dovecot. 103. View of the East Front of the Pavilion, as it appeared before the alterations were made. 104. View from the proposed private apartment of the Pavilion on the supposition that certain alterations are carried into execution. 105. West Front of the Pavilion, towards the garden, before the alterations were made. 106. West Front of the Pavilion, towards the garden, as proposed to be altered; on the left, the orangery changed into a chiosk and a part of the stables. 107. North Front of the Pavilion, towards the parade, before it was altered. 108. North Front if the Pavilion, towards the parade, as it would appear if the new private apartment were carried into execution. 109. [Fig 154] three different characters of elevations, consisting of three storeys, and five windows in a line... 110. A tame country, for which Grecian architecture is supposed to be most suitable. 111. A bold, rugged country for which the castellated Gothic is considered best adapted. 112. Terrace fence separating the Italian garden from the park. 113. Entrance and North front of Cobham Hall, Kent. 114. English cottage built of timber, prevalent from the reign of Henry VI to Henry VIII, and erected by the Duke of Bedford at Apsley Wood, near Woburn Abbey, in 1810-11. 115. Gothic window - exterior. 116. A design to exemplify irregularity of outline in castle-gothic. 117. View of the house at Harlestone Park, previously to Mr. Repton's improvements. 118. Harlestone House and Park, as altered. 119. View of Blenden Hall before it was altered. 120. View of Blenden Hall as proposed to be altered. 121. Barningham Hall, as it appeared in 1805, previously to the alterations made by Mr. Repton. 122. Barningham Hall, as improved. 123. Section across the hall, at Barningham Hall, before it was altered. 124. Modern Gothic window, at Barningham Hall. 125. Example of the outline of a mansion and offices in the castle-gothic. 126. View of Beaudesert before the woods were opened to shew the house. 127. View of Beaudesert as it will appear when the woods are opened and other improvements effected. 128. [Fig 180] Concerning colours, including a diagram to explain the harmony of colours. 129. Morning, after the sun is risen. 130. Morning twilight, before sun-rise. 131. View of the ancient cedar parlour. 132. Modern living-room. 133. Wingerworth House, before the grounds, were altered. 134. Wingerworth House, as proposed to be improved. 135. Entrance-gate to Wingerworth, before the lodge, was built. 136. Entrance gate and lodge at Wingerworth, with the line of road altered. 137. View shewing the effect of single trees. 138. View from a house on the edge f a common in Yorkshire. 139. The common in Yorkshire enclosed, and the view improved. 140. The belt, when it has outgrown its original intention, can only be broken effectually by large and bold openings... 141. Sketch, shewing the effect of opening the belt... 142. Lord Sidmouth's house in Richmond Park before the scenery around was altered. 143. Lord Sidmouth's house in Richmond Park as proposed to be altered. 144. Plan of a proposed English garden in Portugal... 145. Uppark, before the new entrance from the park to the pleasure ground, was formed. 146. View of the entrance from the park to the pleasure ground at Uppark. 147. Effect of sunshine after rain. 148. View from the southeast of Frome House before it was altered. 149. View from Frome House, as altered. 150. House, stables, &c... 151. General view of Longleate from Prospect Hill, shewing the water as it has been finished, and the surface lowered to raise the house. 152. A ground plan. 153. Passage, covered with trellis-work and vines, with a flower border on each side... 154. View from the portico of a villa near London, before it was altered. 155. View from the portico of a villa near London, as proposed to be altered. 156. View of the rosary at Ashbridge. 157. Design for a conduit proposed at Ashridge, with a distant view of the rosary and monks' garden. 158. Wire fence called invisible. 159. Sunk fence with posts supporting a chain separating the pleasure ground from the park. 160. Viaduct proposed for Woburn Abbey in order to disguise the dam, or head, which separates two pieces of water on different levels. 161. Approach to Woburn Abbey before it was altered. 162. Approach to Woburn Abbey, as it has been altered. 163. The entrance door from the dressed ground to the menagerie at Woburn Abbey. 164. Rustic Pavilion in the menagerie at Woburn Abbey... 165. View of the proposed forcing garden at Woburn Abbey during winter. 166. A raised ridge for strawberries. 167. Entrance Lodge at Longnor, which is also a schoolhouse. 168. Park-keeper's Lodge, Cobham. 169. Present appearance of the pool at Dagenham, in Essex. 170. The pool at Dagenham, as proposed to be altered. 171. View from a public road, which passes through a forest waste. 172. View after the first waste has been enclosed and the ground subjected to agricultural improvement. 173. View of the grounds at Sherringham Bower before Mr. Repton's improvements were commenced. 174. View of Sherringham Bower after Mr. Repton's improvements were completed. 175. General elevation of the south front of Sherringham Bower, as proposed to be altered. 176. General view from the south and east fronts of the cottage at Endsleigh before it was altered. 177. General view from the south and east fronts of the cottage at Eastleigh, as proposed to be improved. 178. View of Endsleigh Cottage, on the banks of the Tamar. 179. Design for a workhouse proposed for the parish of Crayford in Kent. 180. View from Mr. Repton's cottage at Harestreet before it was improved. 181. View from Mr. Repton's cottage, at Harestreet, as improved by him.