Along with Bulfinch, as a representative of the transition stage, must be classed Samuel McIntire, of Salem, whose work both public and domestic has always been justly esteemed. He, too, retained a large share of Adam elegance and wealth of detail which he successfully incorporated with motifs and methods of treatment inspired by the more recent impetus of classicism. To McIntire’s influence may be attributed much of the slender delicacy of proportion and the attenuation of pillars and pilasters--this attenuation had a counterpart in some of the contemporary New York Dutch design--so noticeable in a great deal of New England architecture of this period. He eliminated all grossness and pared down the dimensions of columns while he drew out their length to a degree that had no precedent in ancient practice and would have shocked the French purists under whose auspices the new movement [Illustration: ANDREW SAFFORD PORCH, SALEM, MASS. Transition to Classic Revival.] [Illustration: INTERIOR DOORWAY, NICHOLS HOUSE, SALEM, MASS.] [Illustration: Photograph by C. V. Buck, from Underwood & Underwood, N. Y. THE CAPITOL AT WASHINGTON. Classic Revival.] [Illustration: GIRARD COLLEGE, PHILADELPHIA. Classic Revival.] had been inaugurated. Despite these departures from architectural and archæological orthodoxy, however, McIntire’s work is replete with exquisite charm and is justified by applying to it the touchstone of good taste. Latrobe, McComb, in his later work, L’Enfant, Hoban, Dr. Thornton, Thomas Jefferson, Strickland and other noted architects of the last years of the eighteenth century and the fore part of the nineteenth followed classic precedent somewhat more closely in the practice of their profession and may, therefore, be considered the most faithful and typical exponents of Classic Revival principles. Much of their work is noble in conception and peculiarly suited to the monumental character of the buildings they designed.