At the Highlands, in the Whitemarsh Valley, we see the front of the house adorned with tall Ionic pilasters rising from base course to cornice, which is itself elaborately wrought. The woodwork inside is excellent, but unfortunately the Adam mantels with their compo decoration have been removed and now grace another house some miles distant. At Upsala, in Germantown, however, we are in better luck, for there the Adam mantels have remained untouched. The illustrations show the rest of the house and make further specific comment unnecessary, save to remark, regarding the windows, that here, as in other houses of this latest type, larger panes of glass than in the two earlier types are met with in not a few instances. Before proceeding further in the course of comparison, a word ought to be said about the colour of the paint used for interior woodwork of the Georgian houses of all three types. For some reason there seems to be an impression abroad that white was employed to the exclusion of everything else. There was, it is true, a preponderance of white but its use was by no means universal. A close examination of successive layers of paint on some old woodwork reveals various shades of greys, blues, drabs, brownish yellows and other hues beneath one or more coats of white. Grey seems to have been one of the earliest variants from white and, in some places, nothing else was ever used. At Graeme Park, for instance, the first coat of paint was grey, and no other colour ever adorned its panelling and door and window trims. At Stenton, on the other hand, the taste of the occupants dictated a change of colour from time to time and we find a good deal of variety in the successive coats. During the prevalence of the second Georgian type white seems to have found more general favour. With our last type, delicate colours again began to be used.