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The house at the end of the 17th-century cottages gives onto Rook Lane. It is now almost hidden from view behind tall hedging and trees with a very secret garden.

Opposite is the Old Cottage (now called the Pound Cottage).

Pump Cottage (in the middle of our photo) was—as the name suggests—the source of the village's water-supply. It dates from about 1860. The well pre-dated the cottage by a decade.

Many of the houses have attractive pargeting, including Butlers Cottage on the right of the picture. The leaning timber-framed house on the left is known as Tudor Cottage.

The small post office occupies a late 19th-century cottage. Next door is a small thatched cottage similar to a number of others in the village.

The small cottage has a longstraw thatched roof with a swept ridge. It is unaltered, and has no dormer windows.

The bakehouse/ granary is seen here as it was after its conversion to cottages in 1812, and before the serving of the 1944 dereliction order.

Bottomley did not pay his bills on time, and sometimes not at all, but he played the role of a genial squire with gusto; besides building estate cottages, he also bred race horses.

The old post office looked across the green towards it - indeed, the cottage next to the shop is called Windmill Cottage (the right-hand half is Forge Cottage).

A fair number of old cottages still line the earliest village streets around the church, but elsewhere any surviving cottage tends to be islanded in a sea of modernity.

The girls are playing outside the Farmery (centre), Japonica Cottage, and Lilac Cottage (right).

Beside the quiet mill-pond at Flatford Mill stands Willy Lott's Cottage, instantly recognisable as the setting for Constable's famous painting 'The Hay Wain'.

Some of the sandstone cottages in the village of Swainby are still known as the Miners' Cottages, remembering the village's brief spell as an iron mining centre during the 19th century.

Seaforth Cottage, a neat and symmetrical Georgian Cottage ornée with rustic porch, would not look out of place on Marine Parade in Lyme Regis.

Described by Edward Thomas the poet, as 'hunching soft' in Lutcombe Bottom, this idyllic scene below Stoner was lost to us in the late forties with the demolition of the cottage.

Here we see the type of tile-hung and weatherboarded cottages which abound in this area. The white fencing around the cottage gardens is very typical of villages in the Weald of Kent.

One of the most picturesque - and most photographed - rows of cottages in the Cotswolds, Arlington Row's first function was a barn.

Until 1939 the buildings on the right faced Church Alley and the backs of ranges of cottages a few feet away, demolished in that year.

These cottages at Thatch End, Baslow, standing near the bridge in photograph No 5217 above, are a Peak District rarity.

A number of late medieval timber-framed thatched cottages remain, such as the one shown here; Magpie Cottage was, and is, a much photographed symbol of the village.

Sir Samuel Morton Peto, the developer of Lowestoft, built these model cottages for his estate workers.

This thatched cottage is called, appropriately enough, Bridge Cottage.

Another scene typical of western Ireland: thatched cottage, hens scratching for food and an island woman with her shawl.

Here we see the black and white cottages of 'Churchside' with their thatched roofs, and the tower of All Saints', dating from the 14th century.