Baltimore designer Mona Hajj was a perfect complement to Good's classicism. The pair worked closely to give the kitchen the feeling that it had evolved over time. In place of a real hearth, "we designed the stove's 'fireplace' alcove -- something that might have been there centuries ago in an authentic Georgian house," says Hajj. "We also distressed later-era beaded-board cupboards to conform to the dresser's look of wear."

To create concealed storage in the adjacent family sitting room, Good built out the wall around a preexisting fireplace with new raised paneling based on Timberlane's original staircase wall. He was also careful to design a new mantel sympathetic to the 18th-century-style paneling.

Two glassed-in wings, added on to the house in the '70s, were gutted to the studs because they lacked any real salvageable character. "The walls in both wings are composed of 14 windows mismatched by one to two inches in width," says Good, "and the spacing between windows varied, too -- not a symmetrical, Georgian type of attribute."

Because he wanted to add period boxed beams to the ceiling of the breakfast room wing, Good took an average of the varying spaces between the windows to calculate the sequencing of the beams. He then carried the look through to a Georgian-style chimneypiece with flanking pilasters.

The plan for the sunroom on the opposite side of the house was to play up its more contemporary porchlike, add-on character, even though it was designated for an office. "How could we make it look and feel like an office and retain the mood of the serene outdoor views?" was the question Good and Hajj asked themselves. Their solution: installing dark-green, exterior-looking horizontal paneling on the walls. The selection and placement of serious furniture tempers the casual effect of this porchlike treatment.