Cliveden, the third member of the second group, was built in 1761 by Chief Justice Chew. Its solid and heavy masonry is of carefully dressed Germantown stone, and at the peaks of the gables and corners of the roof are great stone urns. Back of the house are two wings, one semi-detached and the other entirely so, used for servants’ quarters and domestic offices. All the features and detail about Cliveden are thoroughly in keeping with the same characteristics as in the other two houses already described. The windows are broad and fill a great part of the wall space in the façade, and the doorway is an essential feature that has been made the most of by the architect. Both indoors and out the strongly classic feeling has been emphasised in pillar and pediment, pilaster and entablature. Triglyphs, guttæ and every other detail of classic embellishment have been wrought with the nice precision due a worthy subject. Comparing Whitby, Mount Pleasant and Cliveden with the former houses of the first Georgian type, certain differences at once strike us. The whole aspect is changed by the greater breadth of windows and doors. The houses look wider awake. This change in the size of the windows means, of course, that the rooms within in most cases were lighter and more cheerful than before. Then, too, the Palladian window has appeared. Both Mount Pleasant and Cliveden afford good examples of it, Cliveden’s being placed at the side while at Mount Pleasant it forms an important feature in both the east and west fronts. At Mount Pleasant and Cliveden we see, too, that the door has become a subject for elaborate treatment, quite in contrast to the extremely simple and unassuming manner of dealing with the same feature in the earlier houses. At Mount Pleasant the severity of the roof line is tempered by a balustrade and the effective management of the chimneys while, at Whitby and Cliveden, urns embellish the peaks and corners. Within we find that acanthus leaves and thistles have begun to grow, the rose has blossomed, other conventional flowers and foliage have budded and egg and dart mouldings have appeared. In other words, carving as a mode of embellishment has attained an established vogue. The moulding profiles have lost some of their trenchant boldness and, though the ornamental detail, both indoors and out, is still vigorous, and at times massive, there is generally visible an air of delicacy and refinement not present before.