Contrasting the Woodlands, the Highlands and Upsala with the houses illustrating the second Georgian type, we find still further evidences of architectural evolution. During the prevalence of the second type individual features were singled out for decorative emphasis, but in the days of the third type the entire front of the house or sometimes the whole exterior was regarded from a decorative point of view. At Cliveden the treatment of the doorway and the urns on the roof are the features relied upon for the embellishment of the façade. At Mount Pleasant the doorways of the east and west fronts, the Palladian windows above them, the balustrade on the roof and the treatment of the chimneys supply a fuller and more ornate decorative effect. But when we reach the third period we see that the architect has considered carefully the decorative element in both the proportions and detail of the whole building. It would be hard to believe that the designer of the Woodlands, in drawing his plans, had not carefully aimed at the pleasing ensemble of the masses. The effect of the rounded ends is agreeable and a marked departure from the straightforward rectangularity of most of the houses of preceding types. The lofty portico of the Woodlands south or river front had no precedent in Philadelphia. Vaux Hill or Fatland, erected about the same time, and Loudoun, a few years later, had the same _motif_, and even John Bartram, in his last addition to his house, adopted the same treatment. Neither was there a precedent for the method of dealing with the north front, so we see that the Woodlands struck two new notes in local architecture. At the Woodlands and the Highlands we find pilasters carried the full height of the walls--a new feature. The fenestration is arranged with more regard to outward appearance and not solely from a utilitarian point of view. We find that the high panelled overmantels, which constituted an important architectural feature, had given place to the low and elaborately adorned mantel that ought to be regarded rather as a piece of furniture than as an architectural entity. Fireplaces had grown smaller, fan lights above doors had become common and were enriched with beautiful and sometimes intricate metal tracery. The comparison between these later fan lights with their airy grace, and the earlier fan lights of Mount Pleasant, with their ponderous mouldings, is instructive. In the detail of all ornament heaviness has vanished and the polished elegance of Adam influence has taken its place. Everywhere we find pateræ, drops and swags, fluting and quilling, oval fans and dainty urns and vases with delicate leaf and flower treatment.