But Soane’s _Rundbogenstil_—so to apply this term out of its German context, as one might do even more properly to the Chelsea Hospital stables—is a round-arched style with a difference. There are neither medieval nor _quattrocento_ Italian overtones here. While Soane’s approach was creatively personal in the detailing as well as in the over-all organization, that approach seems most closely parallel to Durand’s rationalism, particularly in the technical skill with which the monitor-lighting was handled. The centrepiece of the Gallery is a mausoleum in which Soane’s virtuosity in three-dimensional composition—an interest that sets him well apart from most of his generation on the Continent—and also at abstract linear ornamentation, produced here by plain incisions in the stone slabs of the lantern, reaches something of a climax. Even more of such ornamentation is to be seen on the family tomb in St Pancras churchyard of 1816 as also, though much more chastely handled, on the façade of his own house[72] of 1812-13 at 13 Lincoln’s Inn Fields. The interiors of this house are full of spatial exercises, many of them miniscule in scale, which Soane developed later in various public structures. It may suffice here to mention the small breakfast-room with its very shallow dome, its varied and ingenious effects of indirect lighting, and its characteristic decoration by means of incised linear patterns and convex mirrors. In 1818 there began for Soane a new spate of public activity that continued down to 1823. A series of offices at the Bank of England[73] now carried further the spatial and decorative innovations of the interiors of the 1790s. Whether or not these were finer is a matter of taste; but the continuous arched forms without imposts, the smoother surfaces, and the very abstract linear decoration certainly represent a more advanced stage of Soane’s personal style (Plate 28B). Under the Act for Building New Churches of 1818, which generated great activity in the ecclesiastical field, Soane was one of the guiding architects; he built, however, only three churches for the Commission that was set up by the Act. St Peter’s, Walworth, in South London, of 1823-5 is both elegant and ingenious in the way the galleries are incorporated into the internal architectural organization rather than treated as mere afterthought. The other two are less successful.