Within a few years other Boston architects and builders were currently using this sort of construction, and it soon spread to several New England cities. However, more typical of the urban ambition of the twenties and thirties than the destroyed block of 1824 in Providence by J. H. Green (1777-1850), which followed line for line Parris’s commercial work, are two other buildings there. The Providence Arcade of 1828 by Warren has not one, but two terminal porticoes of Ionic columns executed in granite and also a fine interior consisting of raised side galleries under an iron-and-glass roof. Few extant galleries of this decade in Europe are as notable in scale and in finish. The Washington Buildings of 1843 by James C. Bucklin (1801-90), who had assisted Warren on the Arcade, had a plain range of three storeys of window-pierced red-brick wall above a trabeated granite ground storey, the whole dominated by a central pedimented feature (Plate 39B). This was a commercial project as grand as any in contemporary Europe in scale, in materials, and in finish, although without the originality of the trabeated all-granite bow-front of Rogers’s contemporary Brazier’s Buildings on State Street in Boston. Yet Bucklin’s Westminster Presbyterian Church in Providence of 1846 is a straight Greek Ionic temple like so many other non-Anglican edifices of this period in England and America. Where Romantic Classicism, and more specifically the Greek Revival, found its noblest opportunities in Europe in public monuments, in America after the days of Latrobe it was rather commercial, institutional, and even industrial[96] commissions that stimulated architects and builders to original achievement, while public work grew more and more conventional. For instance, the Lippitt Woollen Mill of 1836 in Woonsocket, R.I., and the Governor Harris Manufactory at Harris, R.I., dating from as late as 1851 can both be properly described as ‘in the Grecian vernacular’. They are most admirably proportioned and very soundly built, with walls of random ashlar masonry and boldly scaled wooden trim, very plain, yet of generically Greek character. The discipline of Romantic Classicism accorded well with the requirements of industrial building; not until the present century would factories of comparable architectural quality be built. Moreover, they were often complemented by consonant low-cost housing, as in the extant mill village at White Rock, R.I., of 1849.