Picturesque also are certain aspects of the Houses of Parliament, notably the contrast in shape and placing of the two towers at the ends and, above all, the silhouette of the Clock Tower, almost certainly one of Pugin’s personal contributions to the design (Plate 54). But essentially the Houses of Parliament, as might be expected of Barry, their architect, are one of the grandest academic productions of the nineteenth century. Summerson has suggested a relationship to Fonthill Abbey in the way the plan is organized round a central octagon; there may also be an echo of Wyatville’s east front of Windsor in the composition of the river front. But except for the incorporation of the medieval Westminster Hall, the Crypt Chapel, and the Cloister Court, which necessitated irregularity along the landward side, the plan is almost as regular and as classically logical in its balanced provision for multiple functions as a pupil[125] of Durand might have developed. Equally regular are the façades and, in the case of the principal front towards the river, elaborately symmetrical as well. The rich Late Gothic detail was provided in incredible profusion by Pugin, who worked under Barry against his own developing taste for earlier and less lacy Gothic forms. Doubtless, like the towers, this detailing reflects the Picturesque, but the extreme regularity of the façades provides also the characteristic reiterations of Romantic Classicism. Pugin is supposed to have said that the river front was ‘all Greek’, a considerable exaggeration. But just as Highclere shows what Barry’s basic principles of design could produce when expressed in the revived Jacobethan mode, so without too great a strain one can imagine this front executed with some sort of Renaissance detailing, if hardly in columnar Grecian guise. Commissioned in 1836, the Houses of Parliament rose slowly. The House of Lords was opened in 1847; the House of Commons only in 1852, the year of Pugin’s early death. Even at the time of Barry’s death in 1860 the whole group was still not finished, although his eldest son (Edward Middleton, 1830-80) made but few personal contributions when he took over control and finally completed the job later in the decade. During this extended period of about thirty years the Puginian phase of the Gothic Revival had been initiated and run its entire course; even the succeeding High Victorian Gothic was more than half-way over by the mid sixties. Like the Napoleonic monuments of Paris, which were also a generation a-building, the Houses of Parliament belong historically to the period of their beginning. They are not quite pre-Victorian, since construction above ground began only in 1840 after considerable revision of the competition design, but they are definitely Early Victorian.