As one contemplates this three-part idea for dividing a length of wall, or for grouping separate structures, the system seems to express an “intelligence” in the architecture—the door or middle unit being a head or center of serene intelligence and the symmetrical side units being arms or body. This design idea was not introduced into the colonies via the palace; the palace merely demonstrates the idea which became so attractive to later 18th-century builders. The two pediments referred to above—a big one above and a small one over the door below—are not mere gables of the sort seen earlier. Instead, they are complete, three-sided pediments similar to those found on classical temples. They are a sign of a rising interest in classical art, fostered by archaeological studies in the 18th century. Classical buildings also contained ideas of sober mass and order which impressed those who lived in the late 18th century. It should be observed that the cornices of all three buildings continue uninterruptedly around corners, marking a firm top for the lower part of the buildings which appear as great boxes. Further, as all the buildings have hipped roofs which retreat on all sides, the colonial man and woman in the picture, as they come near a building, do not see a roof at all. This image is in contrast with the earlier architecture with huge, steep roofs sitting like massive hats on the buildings, and with gable ends rising to sharp points in the sky, along with their protruding chimneys. At the palace, chimneys do not disturb the calm surface of a rectangular wall, and roofs are hidden as though one is ashamed of them. The windows of the palace are in absolutely regular horizontal and vertical rows, as opposed to the casual, hit-or-miss irregularities seen in some earlier buildings. In preparing his drawings for the façade of the palace, the architect must have erased and redrawn his windows before he achieved just the rhythm and balance he wanted. In looking at his drawing he saw the façade as an entity by itself, exactly as it was seen by the colonial couple on the walk. They seem to feel the articulate order of the building, a security and a restrained, aristocratic elegance. Such ideas afford one a glimpse into the proud, ambitious, “enlightened,” later 18th century. After this glimpse we return to the diverse buildings of the earlier 18th century, with fuller appreciation of their robustness and good-natured vitality, each building seeming something of heroic accomplishment, a feat of colonial man, which, indeed, it was. CHAPTER VII The Study of Old Architecture