Window trims, while vigorously designed, were comparatively plain and nearly all of the carved and moulded architectural enrichment was bestowed upon the overdoor decorations, cornices and friezes and, up to the time of Chambers, the chimney piece. The window openings were tall and sufficiently wide and were often somewhat recessed with carefully panelled jambs and soffits. The sashes themselves had heavy muntins and the rectangular panes were the same size or slightly larger than those in use during the Queen Anne period.

During much of the early Georgian era the walls continued to be fully panelled with large panels (Plate 9), frequently of the bevel flush type (Plate 7), separated by broad stiles and rails with thumbnail mouldings. Very often a moulded chair rail separated the base panelling from the upper panels. The panels were generally of a uniform size, but were graduated to the exigencies of space when there was occasion. Cupboards and buffets, and occasionally niches with coved and scalloped tops, continued in many instances to be built into the panelling at appropriate places and were generally given an additional enrichment of intricately wrought mouldings and other carving of a character to correspond with the ornate cornices that not infrequently exhibited a wealth of carved foliation, egg and dart motifs or similar devices. It will thus be seen that the carved and panelled woodwork was an highly important item in the decoration of an early Georgian room (Plates 7 and 137).

The ceilings, though sometimes comparatively plain, were also occasionally embellished with lavish foliated and floriated bands and mouldings and other designs, wrought with all the dexterity of which the highly skilled plaster craftsmen were capable. On such ceilings colour and gilding were likewise wont to play an important part. When the walls were not fully panelled - the abandonment of full panelling, as already noted, became more common as the century advanced - they were apt to be covered with rich fabrics, wallpaper or, sometimes, with fine leather appropriately decorated.

It is most important, in our process of visualising the panelled rooms of the early Georgian period, to bear in mind that the use of unpainted woodwork was abandoned comparatively early in the century. We have seen that the earlier architects and decorators, when they did use paint as a variant to the deal, pine, cedar, oak or walnut panelling, did not confine themselves to white or cream white, as people sometimes fancy, but resorted very frequently to colours such as those already mentioned. In the early Georgian epoch, while not eschewing'white - white, it is true, was more commonly used in the American Colonies than colours - they quite as often or oftener employed full-bodied tones of cream, cream yellow, green, blue green, drab and brown and these tones contributed materially to give the appearance of richness and "comfort for which the rooms of the period are noted. Frequently additional grandeur was obtained by gilding or partly gilding some of the carving."

In addition to the fixed decoration supplied by the rich woodwork, the stately chimney pieces and the plaster adornment of the ceilings, decorative paintings were often incorporated in the scheme where a suitable over-door or other similar space invited their employment, mirrors were permanently affixed in suitable positions and choice specimens of sculpture were placed in niches especially provided for them or upon pedestals where their presence would contribute to the general aspect of balanced dignity and elegance.

While surveying this particular period of eighteenth century decoration, we must not fail to take due note of two influences that marked a wide and striking departure from the prevailing Palladianism - the "Chinese Taste," fostered by Sir William Chambers, and a fanciful pseudo-Gothic manifestation largely abetted by Sir Horace Walpole. The former movement coincided with and gave especial emphasis to one of the periodic recrudescences of unusual interest in things Oriental whose recurrence in the history of English and Continental decoration afforded an agreeable and inspiring note of variety and gave rise to many features of permanent worth; the latter movement was not happy in its conception, was taken up as a fad by dilettanti who were not in sympathy with the Gothic spirit and did not really understand it, and produced no results of lasting importance. The Chinese work of Sir William Chambers, and of those who imitated or emulated his endeavours, was in the main performed in an honest and legitimate manner, created an interesting and not unwelcome relief to the predominant classicism of the period, and extended its application to movable equipment as well as to fixed decoration. The Gothic work of the day was palpably a piece of affectation and even, at times, grotesque in its forms and we may be thankful that its ephemeral course left no momentous traces behind it.

Shortly after the middle of the eighteenth century, an entirely new architectural influence became paramount and as the introduction of this influence was due almost wholly to the Brothers Adam, and as they and their contemporaries and imitators were its accredited exponents, we shall be justified in calling the second half of the century, and, indeed, the first decade of the nineteenth, the Adam Age. Impelled by their extended studies of classio art and architecture at fountain head, and realising clearly what their architectural predecessors in England had completely failed to realise - that classic precedents were susceptible of a far wider and more elastic interpretation than had hitherto been given them, that architecture and the decorative arts in the golden ages of Greek and Roman development had not been straitly confined by an unalterably rigid set of rules and interpretative conventions whose authoritative exposition was to be found only in the works of Vitruvius, Vignola and the other dogmatists to whom Kent and his school had tightly pinned their faith, and that classicism, without being adulterated or distorted and robbed of its fundamental genius, was susceptible of a previously undreamed of urbanity, refinement and •even playful exuberance of expression - the Adelphi proceeded to refine, enrich, revivify and even revolutionise the architectural and decorative conceptions of their day and generation. They not only introduced the epoch-marking notes of attenuation and slender grace, along with a more exuberant, lively, diversified and elegant system of decorative motifs, all derived, however, from classic precedent, but, at the same time, they also showed how classic architectural interpretation could be thoroughly domestic, intimate and lively in tone as well as ponderous and monumental. When they began to practise, domestic architecture in England had fallen somewhat into a groove and was in danger of becoming narrow, rigid and pedantic Without sacrificing any principles of classicism, they rendered it human, infinitely more interesting, and elastic in scope.