In his 1870 catalogue plate 13 refers to an iron ridge and furrow-roofed conservatory with Gothic tracery, a parapet that concealed the roof structure, iron pillars with foliated capitals and segmental arches. The catalogue claimed that it could be built to any dimension, because it was made in lengths and fixed together.
In this catalogue, he illustrates and describes seven very contrasting designs.
- The first, being one with octagonal or circular projections on one or both sides and capable of being built either standalone or attached. The two illustrated were rectangular in plan with three semi-circular or octagonal protuberances at either end, giving a dumb-bell shaped appearance. The semi-circular or octagonal projection has either dome or octagonal shaped roofs with finials, whilst the central rectangular structure had a span roof with finials and cresting. The entrance being a double door arrangement located at the centre of the central side.
- The second was a rectangular-shaped conservatory, with a curvilinear roof, elliptic arcade fronts, moulded and carved capitals, moulded bases and a double door on one side. The roof was composed of two curvilinear features; firstly a small feature running around all four sides, with a much larger roof taking off from the two longer sides, meeting to form a span roof, topped with finials and cresting. The two shorter sides had vertical fan shaped arrangements of glass above the lower feature. The conservatory was capable of either being erected standalone or “attached at end to a mansion”. Internally, the design was so arranged as to form a promenade, utilising flower-stands, fountains and hanging baskets.
- The third was described as being of a gothic design, with a dome lantern and numerous gables. The accompanying illustration shows a conservatory, square in plan, with each corner being cut back so as to form a squared cruciform shape. Each side had three gables, with the central one being the most prominent, running back into an octagonal lantern. There were thirteen finials, one on the each end of twelve gables and one on the top of the lantern, with cresting adorning all twelve gables. Decorative motifs adorned both all the pediments of the gable ends and each of the eight vertical faces around the lantern. There were four entrance doors, located at the centre of each side, and thus the conservatory was designed to be a stand-alone structure. Internally, the catalogue recommended placing staging around the sides with either a large central stage for plants or installing a fountain in the centre under the lantern.
- The next three designs are those specifically designed and built for the Marquis of Hastings and installed at Donington Park, Castle Donington, Leicestershire (see page xxx), for Archibald Turner at West Leigh, Narborough Road, Leicester (see page xxx) and finally for Charles Brook at Enderby Hall, Leicestershire (see page xxx).
- The seventh design is a rectangular shaped structure with four small square projections, two along each of the longer sides, either side of a central door, located under a deeply recessed segmental arch. Each of the four projections had a gabled roof, finial and cresting with a decorative motif in the pediment. The main rectangular portion had a span shaped roof, a finial at each end and creating ruining from end to end. There are two rows of ventilation lights at the top of each span and one on each side. Both the front and sides were augmented with a continuous arcade of segmental arches, iron columns and foliated capitals. The design is described as being suitable for either being attached to a residence or as a standalone feature.
- The eighth design, with gothic details has a ridge and furrow roof with projecting entrances on all four sides. Again it was suggested suitable for either being either attached to a residence or as a standalone feature, Internally, it is recommended fitting staging around the sides, with a central bed for larger plants.
- The ninth design was one built for Mr. Edward Warner, at Quorn or Quorndon Hall, near Loughborough. It is rectangular in plan, rather plain compared with the previous designs. As it was attached to the Hall, it was probably a lean-to structure, with a large octagonal entrance projection to the front, which actually formed the entrance to the Hall.
- The tenth design is square with circular arcade front and decorated pediments. There are finials on top of each gable end, although surprisingly no cresting, with a single double door entrance on one side. It was suggested that this design was suitable for attaching to an Italian style residence.
- The eleventh design was octagonal, with a lantern light for ventilation, columns and carved capitals, with smaller ones enriching the sashes, which according to Thomas Messenger enriched the angles. Whilst the conservatory was designed specifically to be erected as a standalone structure, it was equally suited to be a centrepiece in a flower garden.
- The next design was an iron-framed conservatory with ridge and furrow roof structure hidden behind a gothic tracery parapet. The result was a rather low flat looking structure, with iron pillars, foliated capitals and segmental arches. The unique feature of this design was that it was flexible in that it was capable of being built to almost any size, simply by adding more lengths, as required.
- The last two designs were wood framed curvilinear conservatories using his recent patented designs and are described in more detail below.