The Picturesque had its early eighteenth-century origins[106] in England, and its most notable theorists were English. In the first quarter of the century, moreover, there was no British architect so resolutely Grecian that he did not, either on his own initiative or in deference to his clients’ wishes, experiment with alternative modes in conscious pursuit of the Picturesque. Despite the stringencies of the Greek Revival as represented, early, in Wilkins’s Downing College or, later, in Smirke’s British Museum, Smirke had built several Castellated mansions in the years before Waterloo and Wilkins the Gothic screen and the hall range at King’s College, Cambridge, in the twenties; while at the National Gallery in the thirties he handled standard Classical elements in a markedly Picturesque way. Nash was the initiator of one characteristically Picturesque mode, the asymmetrically towered Italian Villa, at Cronkhill in 1802; he also exploited in an exemplary way another longer-established one, the Rustic Cottage, in Blaise Hamlet in 1811 (Plate 50A). The score or more of Castellated mansions that Nash built were always Picturesque and irregular whether their detailing was Norman[107] or some sort of Gothic. Above all, he handled the urbanistic development which was his greatest achievement in a thoroughly Picturesque way. Soane’s Picturesque was of a less usual order and his personal tendency was as much or more towards the Sublime, otherwise a largely forgotten category after 1810. But from 1810 on new buildings in which the basic principles of Romantic Classicism were ignored and exotic stylistic alternatives to the Grecian exploited were generally larger, more prominent, and also more creatively original than they had ever been before. C. A. Busby (1788-1838) was responsible as late as 1827 for one of the finest, most formal, and most extensive examples of Romantic Classical urbanism, Kemp Town at Brighton. Yet in 1814 he exhibited at the Royal Academy his design for Gwrych Castle, completed in 1815, which he was building in North Wales near Abergele, presumably in collaboration with his client, Lloyd Bamford Hesketh, a notable amateur (Plate 49).