Of wholly different type is King’s Chapel. Here we find ample evidence of attention to architectural opportunity and enrichment. While the rectangular plan is adhered to, the interior is divided into nave and aisles by the columns which fulfil the double function of supporting the roof and upholding the galleries. The windows in the lower row, underneath the gallery, are of smaller dimensions than those in the upper row which throw their light down over the galleries into the middle of the nave. The windows of the lower row have flat arched tops while those above are round arched. The masonry is of carefully dressed stone and, while there are no buttresses, the front of the building is adorned by pilasters at the corners and by a pillared arcade forming a porch around the square tower. The roof is hipped. Inside the building, far more play is given to architectural elaboration than outside. Here we find the pairs of columns supporting the roof and galleries are fluted from top to bottom and surmounted by elaborately carved Corinthian capitals upon which are imposed sections of frieze and cornice from which again spring the arches of the roof vaulting. While the effect is agreeable enough, it cannot be denied that the arrangement and general method of execution are illogical and capricious. The old North and Trinity Churches, Newport, also exhibit a somewhat similar and illogical arrangement of the ceiling and its method of support. Trinity, Newport, and the old North are mentioned in addition to King’s Chapel because they all represent the New England type of ecclesiastical edifice erected during the Georgian period which affords an antithesis to the auditorium type represented by the Old South which may be regarded as a logical development of the type exemplified by the Old Ship Meeting-house at Hingham. It would be an unpardonable oversight to bring this chapter to a close without mentioning buildings like the Park Street Church in Boston with its graceful spire and other buildings of similar type, erected about the same period, whose inspiration we owe partly to former ecclesiastical traditions and partly to the new spirit of the Classic Revival. In Boston, and elsewhere throughout New England, may be found many such churches which illuminate the era in which that master of architectural refinement, Samuel McIntire, wrought so successfully. The foregoing pages, cursory as the review of ecclesiastical architecture has necessarily been, will show the diversity of styles that prevailed in the Colonies from North to South and incidentally the reader will be enabled to compare the modes of architectural expression with the ideals and habits of the people inhabiting the several sections of the country. CHAPTER XIII MATERIALS AND TEXTURES