Regarding the texture of stone walls, we ought also to note that in the second and third types we find neatly squared and dressed stones used to a considerable extent. At Cliveden, the Highlands and Upsala the fronts alone are of cut stone while at Whitby Hall the walls on all sides are treated with the same formal precision. Briefly summing up, then, it is clear that three distinct types exist. The first has Queen Anne affinities but is Georgian in time and much of its feeling. Ornamental detail is simple and bold and at times a trifle heavy. The profiles of mouldings are strong and in high relief. Simplicity and strength, combined with grace, give the prevailing note in every instance. The second type is lighter and more ornate, but with characteristic conservatism and abhorrence of the new fangled whims of Sir William Chambers and the Brothers Adam, Philadelphia adhered to the modes in vogue in England from twenty to twenty-five years before and kept Ware in countenance who, in 1750, was still crowning his buildings with heavy Queen Anne urns. Notwithstanding the staunch adherence to conservative architectural principles, however, a new feeling is everywhere perceptible. Though the overmantel decorations still extended all the way to the ceiling, the character of the ornamentation employed was vastly more elaborate and graceful than anything to be found in buildings of the first type. If the profiles of mouldings were not so bold and insistent they were, nevertheless, quite as graceful. With the advent of floriated and foliated _motifs_ in the carving, we naturally find a closer care to detail of all kinds. At the same time there is to be seen a more punctilious heed to all the little niceties and characteristic distinctions between the classic orders. By the time our third Georgian type appears, Adam influence has become paramount and put to flight all mid-Georgian ponderosity. Even in the case of manifestly “carpenter built” houses of the period, where, quite unlike the three excellent examples here chosen to represent their particular classes, no especial architectural merit is to be looked for, we find no heaviness of line, and the character of ornamentation employed is distinctly either a copy or an echo of Adam _motifs_ and, in not a few cases, has caught much of their spirit. It must be understood that the houses used for illustration have been chosen because they represent their many contemporaries in the same neighbourhood, all of which display the same characteristics according to the date at which they were built. The foregoing analysis does not pretend to be complete--it would take far more space to trace all the subtleties of the subject--but aims only to direct attention to certain facts that may conduce to our clearer understanding of American Georgian and its resources in supplying our present needs.