If one may trace an analogy between the Adam mode and the best manifestations of the Classic Revival with its stately structures full of breadth, dignity and repose, so may one also trace with ease an analogy between the carpenter-designed-and-built houses of the end of the Georgian period and much of the insignificant domestic work of the Classic Revival. In other words, the elegant Adam creations bore virtually the same relation to the contemporary carpenter-designed houses as did the larger and serenely chaste compositions of the Classic Revival to the small and inexpensive attempts on the part of ambitious builders to apply the same style to little, cramped structures for which it was manifestly unfit. There was this difference, however. The carpenter-architects of the end of the Georgian period were far superior in discrimination and taste to their successors, who tried to make up for their lack of knowledge by ill-judged essays that succeeded only in being ridiculous. Their tiny, temple-fronted houses were not domestic and were as unreal and architecturally unsatisfying as stage settings viewed from the rear. They were bombastic and pompous--one feels almost like saying “pompious”--and displayed no real merit or refinement to back up their preposterous pretensions to a dignity and state not at all in keeping with their true purpose. The so-called “carpenters’ classic” mode, which was really a chastened and restrained form of the debased Classic Revival style, was infinitely preferable because it was simple and did not pretend to be something it was not. Among the thoroughly striking and important buildings erected in this era that ought to be mentioned, besides those already referred to, are the Sub-Treasury in New York, Girard College in Philadelphia, the Philadelphia Custom House, and the Cathedral in Baltimore. These are typical buildings and, for that reason, worthy of being kept in mind, but the list of creditable examples might be added to almost indefinitely. As a direct result of the Classic Revival influence there was a certain amount of modest and agreeable adaptation which created a pleasant domestic episode in the annals of American architecture. Examples of this modified classic school are unpretentious and, for the reason that they mark no ambitious flights, commendable in their own field. For want of a better name we have been accustomed to call this architectural species “Carpenters’ Classic.” Whatever its shortcomings--and not much can be expected of it for it makes no pretence--it was infinitely better than much that followed it. In contemplating the story of the Classic Revival one can find much to be thankful for. [Illustration: WINDOW DETAIL, HOUSE IN PHILADELPHIA. Classic Revival.] [Illustration: DOOR DETAIL, HOUSE IN PHILADELPHIA. Classic Revival.] [Illustration: STATE HOUSE, PHILADELPHIA, SOUTH FRONT. 1733.] [Illustration: HALLWAY, STATE HOUSE, PHILADELPHIA.]