Rogers’s pre-eminence at hotel design was signalized from the first by the publication in 1830 of a monograph on the Tremont House;[97] thus the hotel joined the prison as a type of building in which American influence became important internationally. But Rogers’s practice was by no means confined to hotels; among other things he gave both Boston and New York their Merchants Exchanges long before he became Supervising Architect in Washington. The colonnade of the latter, a little like that of Schinkel’s Altes Museum, still survives at the base of McKim, Mead & White’s First National City Bank in Wall Street to illustrate Rogers’s high competence at handling a standard Romantic Classical theme. Resort hotels repeated the same Grecian themes in wood, their columns being often much attenuated in order to rise three and four storeys above the circumambient verandas. However, an early example, the first Ocean House of 1841 at Newport, R.I., had a colonnade only two storeys tall set against the main four-storey block. On the Atlantic House there of 1844 the fourth storey occupied the broad Greek entablature surrounding the entire main block, but the front portico of elongated Ionic columns was only hexastyle. Both were burnt many years ago, but later examples of inferior quality remain in several forgotten spas and mountain resorts of the period, particularly in New York State. New York City was drawing architectural talent in these years from other cities. Before Rogers moved there from Boston in 1834, mid way in the Astor House campaign, Town & Davis had arrived from Connecticut. Davis’s Sub-Treasury in Wall Street begun in 1834,[98] however, is rather less successful than the earlier New England houses of similar temple form that he and Town had designed. Davis was himself more notably a protagonist of the Picturesque, despite all the very large and prominent Grecian buildings for which he was responsible (see Chapter 6). Yet his Colonnade Row in Lafayette Street of 1832, a terrace all of freestone with a free-standing giant Corinthian colonnade, equals in grandeur anything of the period that London or Edinburgh have to offer (Plate 42A). More typical of New York in this period than Colonnade Row, and of uncertain authorship, is the terrace of red-brick Grecian houses built on the north side of Washington Square in the thirties, of which a few have survived on sufferance the vandalous encroachments of New York University.