The second Egyptian interpretation of the Classic Revival in Syracuse was the Dey house whose history is regrettably unknown. Here once again we see the architect's free adaptation of his classic precedent in the fat, sturdy columns with their lotus like tops and the unusual pediment centered by a palmetto carving. The pediment is of especial interest, for although ornamented with fine carvings, it is structurally no pediment whatsoever. In figure three it is shown to be merely a false front - a plaything of now rapidly changing revivalist morals. Unfortunately the balustrade, which originally circled the roof and hid the artificiality, is now gone (see figure 5). The carving is of course exquisite and although Egyptian in feeling is more directly ascribable to the antefixes of Greek temples. Attention should likewise be drawn to the typical door and window jambs, the wide pilasters and the equally heavy entablature pierced by full sized windows. Notice too, the Greek fretwork beneath the bay window in figure three, which was once carried in the roof balustrade, and the now typical short colonnade attached to a broader box form; how much we have lost of the purer fundamentals of Greek construction.

However, it is to figure four that we turn for a truer indication of the character of this house. Here in detail is seen an order of such refinement and completeness that Lefever himselt would be astonished. Working from the column upward, notice the absolutely correct fluting capped with encircling bands. The capital above these is truly amazing for despite its thoroughly Egyptian appearance in figure one, it is found to have used pure Greek acanthus leaves - true surrounding an Egyptian Lotus form, but a perfect copy of the capital from the Tower of the Winds at Athens (plate X, page 210), complete even to the abacus. The entablature, although Doric and entirely out of strictly pure form with the Corinthian type capital, is a wonderfully direct copy from the Parthenon (plate XI, page 211) with plain architrave, correct frieze of alternating triglyphe and metopes, and exact mutules with acanthus design at the corners. The guttae, or small drops on the architrave, are additional features of perfection seen before solely on the Kennddy house (page 122). As an enlightening example of the extent to which Revival details were determined, Benjamin says of guttae, "They are supposed to represent drops of water draining from the triglyph, and, of consequence, they should be cones, or parts of cones, not pyramids". Finally, but by no means least important, are to be noticed the small, delicate iron grilles formerly associated with attic windows, here replacing the elaborate carving of Greek metopes. Such ingenuity of adaptation deserves the highest praise. It is, in fact, with suppressed pleasure that this landmark of the Revival in Syracuse, this masterpiece of coordination, has been presented.

The reader may note in figure five a smaller type, four-columned temdle, a neighbor to the Dey house. This was the Alexander Powell house probably built in the early 'forties but unfortunately with nothing further known of it nor with needs be more adequate views as yet uncovered.

Plates X and XI from Stuart and Revett