From the completion of his Observatory in 1814 to the completion of the Scottish National Gallery forty years later Playfair continued to ornament Edinburgh with Classical (and on occasion with non-Classical) structures. Looking south along the cross-axis of the new Town, one sees just beyond Prince’s Street his Royal Scottish Institution begun in 1822, its rather massive Doric bulk happily crowned just after its completion in 1836 by the seated figure of the young Queen Victoria (Plate 34B). Behind this lies his Ionic National Gallery of 1850-4, which is not unworthy of comparison with Smirke’s British Museum begun more than a quarter of a century earlier. High to the rear, on the slopes of the Old Town, rise the two towers of the Free Church College, also by Playfair and begun in 1846, framing with their crisp Tudorish forms the richer and more graceful spire (sometimes attributed to Pugin) of Tolbooth St John’s, which was built by James Gillespie Graham in 1843. Finer than any individual work of Playfair’s, and splendidly sited on the south side of Calton Hill, is the High School by Thomas Hamilton (1784-1858). Begun in 1825, this complex Grecian composition shows how well the lessons of the Athenian Propylaea were learned by Scottish architects. More original, but still essentially Grecian, is Hamilton’s Hall of Physicians in Queen Street of 1844-5. Banking was not far behind State and Church as a patron of monumental architecture in Scotland. Before the astylar _palazzo_ mode took over the financial scene, two banks grander than any in London had been erected in the Edinburgh New Town. The Commercial Bank of Scotland of 1846 in George Street by David Rhind (1808-83), despite its pedimented portico, is no longer Greek in detail; the British Linen Bank of 1852 in St Andrew’s Square by David Bryce (1803-76), more plastically Roman still, has giant detached columns upholding bold entablature blocks, an idea deriving from C. R. Cockerell’s rejected competition design for the Royal Exchange in London. As the earlier mention of Thomson’s churches in Glasgow will have indicated, the Greek Revival lasted even longer there than in Edinburgh. But such edifices as the Royal Exchange of 1829-30 by David Hamilton (1768-1843) or Clarke & Bell’s Municipal and County Buildings of 1844 do not rival the work of Playfair and of the other Hamilton in the capital; nor is there in Glasgow much good urbanism of this period. In his domestic work Thomson remained closer to the conventional norms of the Greek Revival than in his churches. However, in Moray Place, Strathbungo, of 1859, where he lived himself, he produced the finest of all Grecian terraces (Plate 35A) and, still later, in Great Western Terrace an ampler if less original composition.