Drawings 110 to 112 show variant designs for the end facade, based around a three bay, two storey with attic and raised basement structure. The windows are all round headed, and the first two drawings show segmental headed doorways on the basement level. Drawing 112, however, shows an adjusted design so that two round arched doorways and a raised round headed window on the left are shown, corresponding to the upper window design.

Aside from these differences, it appears to be the skyline that Soane is most concerned with, changing from a parapet fronted by a pedestal and urns (partly concealing a large lantern), to a high plain parapet to a balustrade with a pedestal surmounted by urns (respectively from drawings 110 to 112).

Drawings 113 and 114 indicate the internal structure. The window positions are marked and correspond to those of the drawings 110 to 112, the lower windows have been altered in brown pen to round arches, corresponding to drawing 112. Drawing 113 shows (in pencil) the flues from two fire places on the ground floor, which curve to exit centrally at the roof (again corresponding to drawing 112). Drawing 114 shows the same scheme on a larger scale and the interior of the breakfast room, with blind arcading and a bust positioned within a niche.

Drawings 115 and 116 also indicate some of the internal decorative scheme but particularly show a concern with the relationship of the new villa to the Dance wing, as Soane's notes show - describing which elements were dictated by the dimensions of Dance's rooms.