It was for clubhouses and business buildings that Renaissance models were most generally used in England after 1840. For the remodelling of the Carlton Club in 1847 Sydney Smirke, who had provided the winning design in a select competition, based himself, not on San Gallo’s Farnese Palace in sixteenth-century Rome as Barry had done at the Reform Club next door, but on Sansovino’s Library in sixteenth-century Venice. Before this was finished in the mid fifties, C. Octavius Parnell (?-1865) and his partner Alfred Smith had erected across Pall Mall in 1848-51 the Army and Navy Club based on Sansovino’s Palazzo Corner della Cà Grande. Both are now gone. But if these architects in London were moving in the late forties towards an altogether richer and more plastic sort of High Renaissance design, from which almost all traces of the cold asceticism of Romantic Classicism had departed, most provincial architects were content to stick fairly close to the Farnese Palace model of the Reform Club well down into the sixties. This was most notably true in the design of edifices for financial institutions. In 1840 George Alexander (?-1884), who had made his own study of the _cinquecento_ in Italy, designed the Savings Bank in Bath as a little Reform Club; the next year in the Brunswick Buildings in Liverpool A. & G. Williams applied the formula to a much larger block of general offices. Henceforth the mode was solidly established for almost a generation. Barry usually gave a characteristically Italian Villa bent to the many country houses that he remodelled by introducing a tall loggia-topped tower (used to store water for the more elaborate sanitation now demanded) placed asymmetrically at one side of the main block. The first of these was at Trentham Park, near Stoke-on-Trent, where a second later rose in the stable court; the finest are those at Walton House near London of 1837 and at Shrubland in Norfolk of 1848-50. In these the inherited Georgian blocks became subordinate parts of rich three-dimensional compositions almost like the villas that Schinkel and Persius built at Potsdam. The rebuilding of Osborne House as a country retreat for Queen Victoria on the Isle of Wight gave Royal sanction to the Italian Villa mode. Unfortunately she did not employ Barry; the work was done in 1845-6 and 1847-9 by the builder Thomas Cubitt and the design was dictated, if not actually prepared, by Prince Albert. Despite the continued use of Greek forms for certain purposes and in some areas, the controls of Romantic Classicism were loosening rapidly in Great Britain in the forties. A real change of style was at hand; but since certain stylisms, such as the conventional use of Renaissance forms, tended to continue indefinitely, it is hard to know just where to draw the line chronologically.