Some of the finest Greek houses are by provincial architects. One such is stone-built Hyde Hall in Cooperstown, N.Y., very crisp and severe as it was remodelled in 1833 by Philip Hooker (1766-1836) of Albany, who had built it originally in 1811. Still others are of uncertain authorship, notably the Alsop house of 1838 in Middletown, Conn. This is a symmetrical Grecian villa almost worthy of Schinkel’s Potsdam, with very fine murals on the exterior as well as inside. The Alsop house (now the Davison Art Centre of Wesleyan University) was probably designed by a relative of the family who had access to the resources of the Town & Davis office; however, the painters employed were Italian or German. The Wooster-Boalt house of 1848 in Norwalk, Ohio, indicates the late continuance of real restraint and sophistication of design in the Middle West, something already lost in the sumptuous mansions of New Orleans and the Deep South. But many Middle Western houses illustrate rather the surprising elasticity of Carpenters’ Grecian. A mode that approaches the German _Rundbogenstil_—indeed, in the work of such foreign-trained architects as the Prague-born Leopold Eidlitz (1823-1908) relatively authentic examples of that mode—was not uncommon in the America of the mid century.[99] The Astor Library in Lafayette Street opposite Colonnade Row, built by A. Saelzer in 1849, was a good example. Less successful was Appleton Chapel at Harvard College in Cambridge, Mass., by Paul Schulze (1827-97), who sent over the drawings from Germany, and later settled in America. Begun in 1856, this was a very reduced version of Gärtner’s Ludwigskirche in Munich with only one tower. However, the largest and finest example was by a precocious student at Brown University, Thomas A. Tefft (1826-59).[100] This was the Union Station in Providence, begun in 1848 and gradually carried out by Bucklin and his partner Talman (Plate 44). This station rivalled in extent and in the distinction and ingenuity of its rather Lombardic Romanesque detailing, simply executed with ordinary red brick, the German ones by Eisenlohr and Bürklein in Baden and Bavaria; without much question it was the finest early station in the New World. Tefft also designed various New England churches of somewhat similar character, all dominated by very tall and simple spires. However, his churches in the East are outrivalled by such a Middle Western example as the Union Methodist in St Louis, built by George I. Barnett (1815-98) in 1852-4. Tefft’s best works, other than the station, are not _Rundbogenstil_ but Barryesque; such is the brownstone Tully-Bowen house on Benefit Street in Providence of 1852-3, for example. Others were building as fine ones there, however. The consistent use of brownstone and red brick well illustrates the sharp reaction that had set in by his time against the pale tones and untextured surfaces of the Greek Revival.