The influence of the Classic Revival was to be noted earliest in public edifices such as the Boston State House on Beacon Hill, the New Theatre or the Bank of the United States in Philadelphia or, most of all, in the Capitol at Washington in the design, erection and restoration or rebuilding of which so many of the most eminent architects of the day had a share. There the classic orders were reproduced with faithful accuracy in combinations that displayed their chaste beauty and noble proportions in the most dignified and impressive manner. Capitals of impeccable exactitude and fidelity to their prototypes, pediments and entablatures of due proportion, triglyphs, mutules, modillion brackets, acanthus leaves, egg and dart mouldings, dentils, anthemia and all the other structural and ornamental features characteristic of either Greek or Roman architecture became familiar objects to the public gaze and exercised their subtle but powerful agency in the education of a disciplined and elegant sense of architectural propriety. The architecture of the Classic Revival was undoubtedly at its best in public edifices or in large and imposing mansions which afforded sufficient opportunity to display its ample characteristics. Such structures, moreover, did not require any great stretch of ingenuity in making adaptations. While columns might have to be lengthened out or features foreign to classic conception added, the task of accommodation rarely offered serious difficulties to be overcome. In the hands of such men as Bulfinch or McIntire, at the outset, or of Latrobe, Hoban, Strickland and their various able contemporaries, the Classic Revival gave us many truly admirable structures instinct with dignity and grace. In the hands of the too confident and insufficiently educated mechanic who ventured to try his hand at designing, it was a very different thing indeed and its remaining examples of this inferior type can scarcely be viewed with pleasure.