In 1840 the elder Bridant, who also built Chalets in the succeeding years around the lake at Enghien, a watering-place on the outskirts of Paris, built a Gothic ‘Castel’ on the plain of Passy, then a fairly open suburb. This was markedly asymmetrical and consistently medieval in detail. The contemporary fame of this enlarged garden fabrick—for such it really was—indicates its unique position in contemporary production, as unique as Moffatt’s Gothic house in Park Lane in London. L.-M. Boltz, an architect of Alsatian if not German origin but a pupil of Henri Labrouste, had some success with a less feudal mode, half-timbered and asymmetrical, in the forties—a house of 1842 at Champeaux, S.-et-M., was typical. This modest influx into France of Picturesque models from contemporary Germany as well as from contemporary England might lead one to assume that the Picturesque, if not the Gothic Revival, was more significant in Central Europe. In Germany and Austria, however, as also in Scandinavia, Picturesque and medievalizing tendencies mostly merged with Romantic Classicism in the _Rundbogenstil_ rather than standing apart, thus constituting neither an opposition eventually rising to triumph in the English way, nor a mere gesture of aberrant protest as in France. Schinkel’s interest in Gothic has already been touched on, but none of his more ambitious Gothic projects ever got beyond the drawing-board (see Chapter 2). There are fewer such, in any case, belonging to his later than to his earlier years. Moreover, the Gothic of the early projects naturally belongs to the contemporary High Romantic world of Wyatt’s Fonthill Abbey and Latrobe’s alternative design for the Baltimore Cathedral, not to the ethical and archaeological milieu of Pugin and the Camdenians. Most of the virtues—by no means negligible—of his Berlin Werder Church of the twenties are not Gothic virtues—not at any rate as Englishmen of the succeeding decades understood them—they are rather Romantic Classical virtues. The principal interest of his earlier Kreuzberg Memorial lies in its cast-iron material, a material anathema to Pugin as a ‘modernistic’ innovation. The Babelsberg Schloss, based principally on the modern castles that he saw on his visit to England in 1826, makes no pretensions to archaeological correctness in the way of Pugin’s Alton Castle of about 1840 or Salvin’s still later Peckforton.