architectural phenomena observable in other places. By systematically scrutinising and comparing the Georgian work throughout the Colonies, always keeping the historical background in view, one cannot escape the conviction that there were three phases of Georgian manifestation and, furthermore, that whatever minor local differences may have arisen, there was a fairly close chronological correspondence between them and the several phases that marked the evolution in England. Speaking approximately, we may say that the first phase included the houses erected prior to 1740 or 1745; the second phase endured from 1745 till about 1775 or 1780, while the third phase, profoundly influenced by Adam inspiration, lasted until the Greek or Classic Revival completely held the field. In this last phase, be it remembered, must be reckoned some of the best work performed by Charles Bulfinch and Samuel McIntire, work that really marked the transition stage between the Georgian style and the rejuvenated and direct importation of classicism that dominated public taste in the first quarter of the nineteenth century. In order to make this threefold division quite clear and trace the process of evolution through its successive stages, it will be necessary to refer to specific features found in well known examples typical of each phase. While the earliest Georgian type in Pennsylvania showed a tendency toward extreme simplicity and, at the same time, some heaviness, the first phase of New England Georgian often displayed a close resemblance to the heavy but ornate treatment of Queen Anne’s day. The heaviness and boldness of detail belonged to and were characteristic of the epoch and were to be expected in any event. The restraint and simplicity in Pennsylvania, in the cases of Stenton and Hope Lodge, were probably to be attributed somewhat to Quaker predilection on the part of the owners. In the case of Graeme Park, built for Sir William Keith, the lack of more elaborate detail may have been due to the limitations of the workmen’s skill. For the sake of concrete example, we may point to the severely plain, rectangular doorways with straight transoms of small lights at Stenton, Graeme Park and Hope Lodge, all of them thoroughly representative of the Pennsylvania phase of Georgian at this date. In New England, by way of sharp contrast, we find segmental pediments over doorways and a wealth of elaborate adornment in the shape of pilasters, intricately carved capitals and nicely hand wrought mouldings to dignify them, all designed and executed in a manner strongly reminiscent of what one may see in Queen Anne’s Gate or Grosvenor Road in Westminster. The heaviness of proportion and boldness of line belonged to the period, as just noted, and were common to both the New England and Pennsylvania forms of expression. In New England, however, there were no Quaker scruples and preferences to impose a restraining influence and, in