Yet, in France as in England, a new and more serious phase of the Gothic Revival did open in the late thirties, stimulated by the ideals of Catholic Revival of a series of writers from Chateaubriand to Montalembert. No great Gothic public monument like the Houses of Parliament in London was initiated in these years in Paris—nor for that matter at any later date—but several churches designed around 1840 were at least intended to be as exemplary as Pugin’s; they were also considerably more ambitious in their size and their elaboration than most of those his Catholic clients and the Camdenians’ Anglican ones were sponsoring in England at this point. A curious example of the change in taste is the Chapelle-Saint-Louis at Dreux.[139] The original chapel was built in 1816-22 by an architect named Cramail (or Cramailler) as a Classical rotunda to serve as the mausoleum of the Orléans family. In 1839 Louis Philippe ordered its remodelling and enlargement in Gothic style by P.-B. Lefranc (1795-1856), desiring thus to associate the Orleanist dynasty with the medieval glories of French royalty in a manner already fashionable[140] with intellectuals to the left and to the right, if not with many architects. The new exterior, completed in 1848 just as the Orléans rule came to an end, is in a very lacy and unplausible sort of Gothick, not without a certain still rather eighteenth-century Rococo charm but quite inharmonious with the Classical interior. Like another Royal mausoleum of these years, the Chapelle-Saint-Ferdinand in the Avenue Pershing in Neuilly, built in 1843 in memory of an Orléans prince who had been killed in an accident near its site, the Chapelle-Saint-Louis has stained glass windows designed in 1844 by no less an artist than Ingres. These are even less appropriate in association with Lefranc’s Gothic than with the Romanesquoid mode that the elderly Fontaine—who knew, like Talleyrand, how to maintain his position under several successive regimes—used for the Neuilly chapel. They are hardly superior in quality, moreover, to the glass, whether imported from Germany or produced locally, that was being used in the early forties in England for Neo-Gothic churches. A more important Gothic project of this date than the Chapelle-Saint-Louis was that for the large new Paris church of Sainte-Clotilde prepared in 1840 by F.-C. Gau (1790-1853), German-born but a pupil of Lebas. Doubts as to the extensive use of iron proposed by Gau held up the initiation of the construction of Sainte-Clotilde until 1846, so that several provincial Neo-Gothic edifices of some consequence were executed first. These may be compared, but only to their disadvantage, with Pugin’s churches of around 1840 as regards their plausibility, their intrinsic architectonic qualities, and the elegance of their detail. However, several of them are larger and more ambitious—being Catholic churches in a Catholic country—than are even his various cathedrals.