The staircase cannot fail to attract notice, with its twisted newel post and balusters and the molded mahogany railing. The box stairs with panelled ends show decorative brackets. It is interesting to note the twisted portion of the three balusters on each stair, each differing, although the tops and bottoms are alike. The newel, hand-carved and turned, is a specially good specimen of its type, and with the balusters, which are also hand-carved and turned, represent a direct development of the shipbuilding industry in their likeness to the rope moldings of the ship cabins, so much used in those days. In this hallway the door caps are placed above the lintel, showing no supporting pilasters. They represent different designs of McIntire, in some cases showing baskets, in some flowers, and in others garlands. [Illustration: PLATE XXIII.--Parlor, Rogers House; Drawing Room, Rogers House.] The entire house is finished in white pine, a wood that is rather rare to-day but which shows lasting qualities. This is particularly noticeable in the drawing-room, which lies at the right of the hallway. Over the fireplace is a wonderful old painting representing Saturday Night. This is almost priceless in value, and shows a European peasant scene where little children are gathered around their grandmother for a good night parting. The woodwork of this room is painted a soft brown, the carving on the mantelpiece showing Neptune with sheaves of wheat, and the whole is supported by Ionic columns. The center of the room at the rear is arched, showing wonderful carving, molded pilasters giving an effect that is fine and distinctive. Here we find, as through all the house, the marked individuality of the Adams period. Inside this arch is a background of rich, dark red leather, on which are fastened wonderful old plates, many of them brought over by the ancestors of the owner, and without duplicates in this country. These plates are arranged to form a most artistic archway. Most of the prints on the wall are from Sir Joshua Reynolds' paintings. Upon the chimneypieces, not only in this room but also in the several others, it would seem as if McIntire had put his best work. They appear to stand out with exceptional grace and dignity, with charm of line and proportion. Here we find applied work of the most delicate nature and hand-carving that is exquisite in detail, adorning not only the moldings of cornice or frieze, but re-echoed in the pilasters of the over-mantel. The architrave of the mantelboard proper and its frieze, the capitals of the colonnettes, the edge of the shelf, and the molding that surrounds the panel over the chimney-breast, are masterpieces in bas-relief. The architectural treatment in this room convinces one of the great possibilities that lie in the white wood finish and how appropriate it is as a background for the rare pieces of old furniture that were used in our forefathers' day.