Downing was a characteristic proponent of the Picturesque point of view, leaning heavily on earlier English writers. The designs for Picturesque houses, some by Davis, some by Notman, one at least—the King Villa—by Upjohn, and others presumably by himself, illustrated in Downing’s two house-pattern books[130] were quite as likely to be towered Italian Villas as Tudor Cottages or more pretentiously Gothic designs. Most significant of all are those called Bracketted Cottages by Downing for which he recommended the board-and-batten[131] external finish that Upjohn later took up for modest wooden churches. But these, which are neither very Picturesque—at least with the capital P—nor yet at all Gothic, are better considered in relation to the general development of Anglo-American house-design in the nineteenth century (see Chapter 15). Rare in execution, as are indeed all the more exotic Picturesque modes, but also significant for its later influence, was the Swiss Chalet. Although chalets were illustrated in the English Villa books of P. F. Robinson (1776-1858)[132] and others from the twenties, the finest extant American example is fairly late, the Willoughby house in Newport, R.I., of 1854. As this is by Eidlitz, it may be presumed to derive from Swiss[133] or German sources rather than from Robinson’s or other English designs. Thus at Newport, already rising towards its later position as the premier American summer resort, there were by the time the Civil War broke out in the early sixties examples of the Tudor Cottage (Upjohn’s Kingscote), the towered Italian Villa (his Edward King House)—as for that matter also the more Barryesque symmetrical villa without tower, the Parish House of 1851-2 by the English-trained Calvert Vaux (1824-95)[134]—and the Swiss Chalet, not to speak of other more formal houses which here in Newport began to show very early the influence of the French Second Empire. There were also several big hotels of this period, now all destroyed. Two Grecian examples have been mentioned earlier; but the second Ocean House, built by Warren in 1845, was Gothic, a gargantuan version of a Davis-Downing Tudor Cottage. On this the Tudoresque veranda piers were carried to a fantastic height in naïve competition with the columned porticoes of the previous Ocean House and the Atlantic House.