In England the Greek Revival was barely established as the dominant mode in the twenties before it was challenged. Barry, as has been noted earlier, began his career with the building of cheap Commissioners’ Gothic churches, but his favourite mode was the Renaissance Revival. We have seen that in Germany the Renaissance Revival may be considered to begin with Klenze’s Munich work of the mid twenties. Now, in 1827-8, Barry built the Brunswick Chapel, later St Andrew’s, at Hove in a _quattrocento_ mode—the exterior, that is, for the modest interior can hardly be thus characterized, and in its present form includes various changes since Barry’s time. The façade looks rather nineteenth-century French to modern eyes; yet comparable French churches, such as Lequeux’s Saint-Jacques-Saint-Christophe in Paris, are mostly from five to fifteen years later (see Chapter 3). Barry doubtless turned to some of the available French publications on the Italian Renaissance for his detail, most probably to the _Architecture toscane_ of Grandjean de Montigny and Famin, but he certainly did not derive the design of his church from current Continental practice. Following immediately upon the Brunswick Chapel, Barry built for Thomas Attree of Brighton a symmetrical Italian Villa, now the Xavierian College, with an architectural garden setting. This was part of a scheme, otherwise unexecuted, for surrounding Queen’s Park, east of the town, with a range of detached houses, some Italianate, some Tudoresque, in an extensive suburban development of the order of Nash’s only slightly earlier Park Villages. The intended effect can best be seen in Decimus Burton’s Calverley Estate at Tunbridge Wells carried out over the years 1828 to 1852. Far more important, however, was the fact that Barry in 1829 won with a _palazzo_ composition the competition for the new Travellers’ Club. This was built in Pall Mall in the next two years beside the prominent corner site where Burton’s astylar but still Grecian Athenaeum was rising. Raphaelesque on the front—although not as derivative from Raphael’s Pandolfini Palace in Florence as was claimed at the time—but rather Venetian on the rear, this clubhouse notably eschews the flat barrenness and the giant orders of the Grecian mode to throw emphasis on the elegant aedicular treatment of the windows and the bold _cornicione_ which crowns the top (Plate 35B). Very soon Charles Fowler (1791-1867), who owned the copy of Durand’s treatise now in the Library of the Royal Institute of British Architects, was introducing a more utilitarian sort of Italianism in the Hungerford Market in London of 1831-3, now long gone, and in the Lower Market at Exeter of 1835-6. There the Durandesque and almost basilican interiors, destroyed in 1942, contrasted markedly with the Greek Doric detailing of the façade of his Upper Market of 1837-8.