The elevation and perspective, both showing the lawn front for Pitzhanger Manor, are close to the executed design. Drawing 103 shows some pencil and brown pen alterations (presumably by Soane himself) which probably relate to the second, later date, noted in pencil above the left hand window (March 25 1801). These alterations include a balustrade and an urn positioned central to the left bay, above the cornice. The balustrade addition appears in the final design. The overall design is also very close to that of scheme F.

Ptolemy Dean and Helen Dorey (op. cit. above) each suggest that the design for the entrance facade of Pitzhanger (drawing 105) has its source in the form of a triumphal arch (the Arch of Constantine in Rome specifically). Although loosely, this does seem to be the case - in each the three bay structure is articulated by four columns (all the height of the first of two storeys). These columns are each surmounted by figurative statues. The three arches of the windows and door of the Pitzhanger facade also suggest the Arch of Constantine's tall central arch flanked by a smaller arches on either side. In addition, the proportions of the tall ground storey and much shorter first floor (as Pitzhanger facade is externally divided) reflect the vertical proportions of the triumphal arch.

The gardens and figures of drawings 104 and 105 are evidently a figment of Gandy's imagination, as the house had not been built at that date. These elements do convey one of Soane's intended uses for the house, however, as a place to which he could invite friends.

A concern is still shown with the retention of the Dance wing, particularly in drawing 104, as shrubs partially disguise the asymmetric structure and balance the opposing side.

Virginia Brilliant's TS catalogue suggests that the group of figures to the right in drawing 105 (a man in a blue coat, a woman, a child and a dog) are in fact meant to be Mr and Mrs Soane and one of their two sons.