No European public edifice has a grander Greek Doric portico than that which dominates the tremendous four-storey front block of the Lunatic Asylum in Utica, N.Y., of 1837-43, designed by no architect, according to the records, but by the Chairman of the Board of Trustees, William Clarke (Plate 46). Still later, in 1850, after the Grecian mode was _passé_ with most architects if not with the general public, Davis built in the Renaissance Revival mode that he called ‘Tuscan’ the Insane Asylum at Raleigh, North Carolina; this is distinguished by his characteristic arrangement of the windows in tall vertical bands. Such American institutions are not at all unworthy of comparison with the best French productions of the period by Gilbert and others, although generally of rather smaller size (Plate 20). [Illustration: Figure 13. Isaiah Rogers: Boston, Tremont House, 1828-9, plan ] Hotels in Europe had not as yet received much architectural elaboration, nor did they in general before the mid century. Such English hotels of Grecian pretension as the Queen’s by W. C. and R. Jearrad at Cheltenham, which opened in 1837, or the Great Western in Bristol by R. S. Pope (1781-?), opened two years later, are rather exceptional, being located at spas, and in any case a decade later in date than the first notable American example. It was in Boston, at the Tremont House built in 1828-9, a Grecian granite structure of dignified grandeur externally (Plate 41) and of considerable functional elaboration internally (Figure 13), that Rogers and his clients consciously initiated a new standard of hotel design. For thirty years Rogers himself, in various hotels from New Orleans—the St Charles—to Cincinnati—the Burnet House—all long ago demolished, personally maintained and, at least in terms of functional organization, continued to raise that standard. Not for nothing did the big new London hotels of a generation later label their bars and their barber-shops ‘American’. In 1832 Rogers began the Astor House in New York; when completed in 1836 this already outranked the Tremont House in every way. Not least extraordinary must have been the elaborately fan-vaulted hall. This reflected that eclectic interest in Gothic of which Rogers’s wooden Unitarian Church of 1833 in Cambridge, Mass., provides extant evidence. The last hotel that he built was the Maxwell House in Nashville, Tennessee, of 1854-60.