The chief feature in the old Dutch rooms was the fireplace, and many of these old fireplaces are of cavernous proportions. The chimney breast almost invariably extended well into the room and the spaces on either side were often filled with built-in cupboards, or else with deeply embayed window seats. Very little attempt at decoration was made in the panelling of the over-mantels and indeed there was often no panelling at all but the rough plaster of the wall was whitewashed. The walls were exceedingly thick, often two feet or more, and this gave deep reveals to the windows. All the woodwork in the earlier houses was ordinarily plain and was usually painted a spotless white as it so often was in Holland and this made a striking background for the hinges, latches, bolts and other hardware whose decorative value the Dutch thoroughly appreciated and which they accordingly fashioned in graceful shapes. It was not until a later period, towards the middle of the eighteenth century and later, that any attempt was made to embellish the woodwork by carving or turning and even then the adornment often consisted of only simple but well-proportioned mouldings. Towards the end of the eighteenth century when the Georgian influence, particularly in its Adam phase, began to be strongly felt, one finds adaptations of current _motifs_ such as oval fans, swags, drops, flutings, reedings, sunbursts and divers other decorative forms in vogue at the period. All of them however were handled with a surprising degree of freedom and independent of English precedents and the manner in which they were used seems to be thoroughly original. It is at this period of elaborated woodwork that we also find the doorway assuming importance as a decorative feature of the house. Slender turned columns--some of them ought rather to be called spindles--were added at the sides, occasionally there were glass side lights with leaded tracery and fanlights in elliptical door heads or tracery in square transoms were all used to add a note of state to the doorway that had hitherto been very plain and unpretentious. In the fanlights, as well as in the side lights, it was not unusual for the tracery to be formed in delicately-moulded lead work. In a very able study of ornamental detail of the older Dutch houses by John T. Boyd, Jr., published in _The Architectural Record_, the author says: “The first thing one notices about these details is their freedom. It is an architecture absolutely without orders. In some rare cases, there are mantels with little Tuscan columns, but they are not among the finest examples and are found side by side with freer forms. The over-mantels often ... show a very rare use of fluted pilasters.