The necessity or desirability of developing the porch feature may have hastened the welcome of the Classic Revival in the South because of the opportunity it gave of constructing that architectural adjunct in an imposing and thoroughly well-mannered and congruous method. At all events, the Classic Revival seems to have met with earlier favour in the South than elsewhere and its vogue was practically synchronous with the third or Adam type of Georgian expression. As a case in point, there is Monticello but it should be observed that Jefferson’s conception of the Classic Revival [Illustration: CARTER’S GROVE, VA. 1728. Southern Georgian, first phase.] [Illustration: ANDALUSIA ON THE DELAWARE, PENNSYLVANIA. 1794-1832. Classic Revival.] [Illustration: OLD MARITIME EXCHANGE, PHILADELPHIA. Classic Revival.] mode, if Monticello is to be regarded as a specimen of Classic Revival work, had a dignity, honesty and sincerity about it that was afterwards often lost sight of when employed by other men. One cannot quit the task of reviewing the Georgian architecture of the South without feeling deeply impressed with the great dignity and breadth manifested in all its forms. It was a sincere expression of the architectural needs of an important social condition and while it was founded on time-honoured precedent, at the same time its application was thoroughly American and full of vitality. CHAPTER X THE POST-COLONIAL PERIOD AND THE CLASSIC REVIVAL After the close of the Revolutionary War came a period of comparatively rapid evolution in architecture. This phase of post-Colonial evolution reached its culminating point in the signal successes and almost ludicrous failures of the Greek or Classic Revival, successes and failures that occurred simultaneously, strange as it may seem, though caused by the same influences, and are still to be seen in the older cities of our land, oftentimes standing in close proximity.