If there were in America no castles of the scale and plausibility of Salvin’s Peckforton, no pavilions of the pseudo-oriental magnificence of Nash’s at Brighton, the will to build them was none the less present. Ericstan has already been mentioned; while at Bridgeport, Conn., P. T. Barnum erected Iranistan in 1847-8 in conscious emulation of the Regent’s pleasure dome at Brighton from designs he had obtained in England. This was carried out by Eidlitz. Longwood, near Natchez, Mississippi, by Samuel Sloan (1815-84), begun in 1860, is even more ambitiously oriental, but was left unfinished when the Civil War broke out the next year.[135] Rather curiously the Smithsonian Institution in Washington, set down like an enormous garden fabrick in L’Enfant’s Mall near the Mills obelisk, was at the insistence of its director, Robert Dale Owen,[136] designed as a Norman castle by James Renwick (1818-95). Built in 1848-9 of brownstone, this is a very monumental manifestation of the Picturesque and one of the more surprising features of a capital otherwise mostly Classical in its architecture. On the whole the happiest American achievements in the Picturesque vein were the towered Italian Villas, from Notman’s Doane house of the mid thirties down through Upjohn’s City Hall in Utica of the early fifties and Davis’s still later houses in the East and the Middle West (see Chapter 5). The Gothic Revival in America, deriving after 1840 from Pugin and the Camdenians, was a much more alien movement than the Greek Revival. In the British Dominions and Colonies, even though the characteristic production of this period is in many ways more similar to that of the United States than to that of the homeland, the Neo-Gothic achievement appears somewhat less exotic. However, St John’s in Hobart, Tasmania, by John Lee Archer, which was completed in 1835 in the most rudimentary sort of Commissioners’ Gothic, is far inferior to the granite churches of its period in the Boston area. From that to Holy Trinity in Hobart, completed by James Blackburn in 1847, the advance in mere competence is very evident. Yet, as in the case of Upjohn in America, the Norman church that Blackburn built for the Presbyterians of Glenorchy and even more his Congregational Church at Newtown, an asymmetrically towered Italian Villa edifice, may well be preferred to his Gothic work.