In 1836 Barry designed a larger edifice of the _palazzo_ type, the Manchester Athenaeum built in 1837-9. But this was overshadowed in size, in prominence, and in quality by the new Reform Club next door to the Travellers’ in Pall Mall; for this he won the competition in 1837, and it was built in 1838-40 (Plate 35B). Here his model was obviously San Gallo’s Farnese Palace in Rome. But there are many differences such as the unaccented entrance, the balustrade which sets the façades back from the pavement, the simpler and more San Gallesque top storey, the corner emphasis provided by prominent chimneys, not to speak of the metal-and-glass roofing of the central court. Barry’s two Pall Mall clubs provided architectural paradigms much followed through the forties and well into the third quarter of the century. Moreover, W. H. Leeds (1786-1866), in the text of a monograph on the _Travellers’ Club-House_ published in 1839, developed at some length the arguments for a Renaissance Revival. A little less evidently than the Continental work of these years in Renaissance modes, but none the less truly, Barry’s _palazzi_ represent a continuation of Romantic Classicism. In the block-like unity of the external masses, the regularity of the fenestration, and the extreme orderliness of the planning his _palazzo_ mode is at least as characteristic an aspect of later Romantic Classicism in Great Britain as is the _Rundbogenstil_ on the Continent. This is considerably less true of two other directions in which Barry first turned in the thirties. It would be premature, however, to discuss here the design with which Barry won the competition for the new Houses of Parliament in 1836 (Plate 54). As the first major public monument to be designed anywhere in Gothic this constituted above all an epoch-making step in the English revolt _against_ Romantic Classicism (see Chapter 6).