As the western world expanded in the nineteenth century, significant architectural achievement tended to move outwards from the old centres on the Tiber, the Seine, and the Thames; but that movement was always very uneven, and still remains so today. Russia was building more and finer structures of Western European character than Spain and Portugal; while the United States, not yet fantastically disparate in size and population, produced many more productive Romantic Classical architects than either Holland or Sweden. All the same, the architectural leadership of the western world remained for at least a generation longer in the old centres of Europe; our story must return to where it started in order to proceed beyond the mid century or even to complete the account of the period 1810-50. Romantic Classicism came to no sudden end. If in Vienna a monumental Grecian Parliament house could rise as late as the seventies, so in the desert of Arizona the Crystal Palace Saloon of 1878 at Tombstone is still in the Greek Revival vernacular. From the very first, on the other hand, there was some admixture of the Picturesque in Romantic Classicism. Almost all the architects that have been mentioned, both of the earlier and of the later generation, were more eclectic in their practice and even in their theories than this account of their major works has made altogether evident. But in the main, down into the forties, Romantic Classicism, while increasingly eclectic, remained a coherent style whose canons controlled most of the accepted variants to the Grecian.