Taking into account the hierarchy of each elevation, you can start to try and get an understanding of how the proportions may have come about. All eight elevations are the same when taken from the border upwards. Although these elevations appear to be completely different they have a relationship in proportion which links them together. 

 

If we start by looking at the South Elevation, which may have been deemed of higher importance than the others, since it leads into the Velvet gallery, which was used to display Burlington’s finest art pieces. We can see that the architrave, larger than any of the others in the room, is 1/5 units of the height of the door. This is equal in proportion to the Pediment. 

 

I believe William Kent may have then tried to break down  these proportions into smaller proportions to create the East fireplace elevation. This is probably second in importance, if not equal to the South elevation as it mirrors the N/W Gallery and also allows a peek back at the highly impressive sculpture room. Here the proportion of the doorway in the South Elevation can be broken down into 4 units. The fireplace occupying 2 of these units and the mirror and the mantelpiece being one unit each. 

 

The window on the North Elevation can be broken down into 3 with the mid-point of the pediment and architrave on the South East elevation one third and two thirds the way up the window respectively. The bottom third is added as an equal proportion. From here the wall and skirting board can be split into four units. 

 

The height of the archway leading into the sculpture room has been determined by the dimensions of the cornice and border above. If you split this into five units you can see that the door height on the remaining corner elevations are 4/5 units of the archway, suggesting a lower importance. This is equal to the sum of the cornice, border and wall.