Other state capitols of this period are Grecian but not of temple form; a good example is that Town & Davis built at Raleigh, North Carolina, which was begun in 1833. The finest of all is that for Ohio at Columbus,[92] begun in 1839-40 and carried to completion over the years 1848-61. Here the giant ‘pilastrade’, for which columns are substituted in the central third of the front, has a Schinkel-like directness and severity (Plate 39A). Not so happy is the flat-topped central lantern, which is also surrounded by a pilastrade. In conscientious pursuit of trabeated consistency the architects thus sought to mask the rounded shape of the dome within, as had been tried in various French projects of the late eighteenth century and by Schinkel in the Altes Museum already. After Philadelphia, Boston was the architectural metropolis of this period; and from Boston, beginning in 1827, issued the later treatises of Benjamin purveying the Grecian orders to carpenters and builders all over the North and the Middle West. Here Bulfinch, however, established as the leading architect in the 1790s, long remained faithful to the ideals of Chambers and Adam (see Chapter 1). At University Hall, built for Harvard College in Cambridge, Mass., in 1813-15, Bulfinch used granite for the ashlar of the walls as he had done for his Boston City Hall of 1810, but the white-painted wooden trim is not yet Grecian. The Massachusetts General Hospital in Boston, also of granite, was designed by him in 1816-17, just before he left for Washington to take over from Latrobe supervision of the construction of the Capitol. The hospital building (now known as the Bulfinch Pavilion) as executed by Alexander Parris (1780-1852) in 1818-20 is certainly a mature Romantic Classical edifice if not a typically Grecian one. Above the plain pediment of the central portico a square attic with corner chimneys supports the saucer dome, and the long side wings with three ranges of unframed windows display the fine granite ashlar of Boston in all its cold pride. Compared to Latrobe, however, Bulfinch remained a provincial if not a colonial designer, high as is the intrinsic quality of his best work.