The hospital is, however, rather more original than Burton’s nearby Constitution Hill Arch, also of 1827-8, now moved back towards the Green Park. This is one of the two erected in connexion with the new Buckingham Palace and in conscious rivalry of those Napoleon had set up in Paris and other Continental cities. The other one, originally forming the entrance to the court of the palace, is Nash’s Marble Arch of 1828; that was moved to the corner of Hyde Park where Park Lane meets Oxford Street in 1851 after the palace was refronted by Blore in the late forties. Neither arch has the urbanistic value of Benjamin Dean Wyatt’s Duke of York’s Column or of the Nelson Column, erected in 1839 in Trafalgar Square by William Railton (1803-77), because of their very casual siting. Apsley House, as remodelled by B. D. Wyatt for the Duke of Wellington in 1828, rising too high beside the Burton screen, is not altogether an addition to the group at Hyde Park Corner. Wilkins’s largest and most conspicuous work, and the one which ruined his reputation, is the National Gallery of 1832-8. The long façade of this, extending across the top of Trafalgar Square, is excessively episodic and best seen in sharp perspective looking along Pall Mall East or from the south side of St Martin’s-in-the-Fields. The order is not Greek, since the columns of the portico Henry Holland (1745-1806) erected in front of Carlton House in the early 1790s were re-used, and the little dome behind the central pediment is almost Byzantine in character. Comparison of this Picturesque-Classical composition with Cumberland Terrace is inevitable; the honours are all Nash’s. If Wilkins made the first Grecian spurt, it was Soane’s pupil Smirke who held the course. In Trafalgar Square the unified range of buildings built in 1824-7 on the west side that once housed the Union Club and later the College of Physicians contrasts most strikingly with Wilkins’s National Gallery. Heavy, dignified, and immaculately ‘correct’ in its Greek detailing, this block also shows considerable variety in the handling of standard Romantic Classical elements without any such striving for Picturesque effect as the National Gallery. Later additions on the west have not seriously damaged Smirke’s work. It is highly typical that the most considerable Grecian edifice of London should be a museum and library. The British Museum, begun by Smirke in 1824, was not completed until 1847.[76] Its principal internal feature, moreover, the domed Reading Room built of cast iron in the central court (see Chapter 7), was designed and carried out in the mid fifties by Smirke’s younger brother Sydney (1798-1877). Only the King’s Library was finished rapidly within the twenties to house the library of George III. This is dignified and crisp, if somewhat less immaculately correct than Smirke’s façade in Trafalgar Square.