The Rogers house is colonial in design. It is two stories in height and was built at the time when wood-carving had reached the highest degree of excellence in the historic city by the sea, and when skilled workmen had been attracted there from every part of the land. Doubtless many of them were employed by Samuel McIntire on this house which contains some of his most wonderful work. These men, with the native ingenuity and wonderful skill in the handling of tools, took great pains to execute in wood what many of the master architects across the sea were doing in stone, more particularly as regards decorative molding. In studying the work on this house, one cannot too carefully take into consideration the tools which these men had to use, and the precision with which the fine scale detail is carefully thought out, making these workmen compare favorably with those of to-day. [Illustration: PLATE XXII.--Doorway, Rogers House.] The house where so much fine woodwork is shown is painted white, with green blinds, and is an exceptionally good example of what the century-old architecture in and around Salem stands for, possessing character, dignity, and grace such as is seldom found. This is particularly exemplified in the front doorway, the porch being perfectly balanced, its well proportioned fanlights and sidelights giving it rare dignity and refinement. Ornamentation in the balcony shows McIntire's work in baskets of flowers picturesquely carved, while the steps are flanked with marble vases filled with geraniums, the bright blossoms giving just the right touch of color to bring out the white of the house. The flooring of the porch is tiled, and the hallway is most imposing, the stairway being lined with pictures of the old masters, including Van Dykes, and Salvator Rosas, Oliver Cromwell proroguing the Long Parliament, Diogenes with his lantern hunting for an honest man, and many others. The dado here is most unusual, being fabric painted red, while the hand-painted landscape decorations show a section of the classic Zuber wall-paper. The front entrance displays on the inside a well planned elliptical arch over the door, with a frieze motif of reeded sections between applied rosettes tied into the cornice, the charming pattern in these sashes being brought about by iron bent against the glass. In most houses of this period, as in this, the elliptical arch of the fanlight is echoed elsewhere in the house.