Romantic Classicism, being founded on the basic Western European heritage of Greece and Rome, could readily broaden its sources to include the Early Christian and the Italian Renaissance. But to men of the early nineteenth century the Gothic was not a universal European style as we are likely to consider it today; it was ‘Early English’ or ‘Altteutsch’ or (with far more justification) ‘l’architecture française’. The bigotry of the English Gothic Revival was so intense in the forties that Scott was denounced in _The Ecclesiologist_ for even entering a competition for a church in Germany since, if successful, his clients would be Lutherans not Anglicans. Such insular narrowness made the Catholic Pugin’s Gothic paradoxically intransmissible to Catholic countries abroad, quite as intransmissible in effect as the Jacobethan. Scott won his Hamburg competition by modulating, to the horror of puristic compatriots, his usual fourteenth-century English Decorated towards its German equivalent, on the whole a grander style as he exploited it there. Continental nationalism, like Continental Neo-Catholicism outside France,[145] favoured earlier—or later—modes than the Gothic, down at least to the mid century. The _Rundbogenstil_, moreover, despite the fact that the precedent for its detail was quite as often Italian as local, received warm support from nationalists in Germany; when exported, moreover, as to the Scandinavian countries and the United States, it was properly recognized as a German product (see Chapters 2 and 5). In Latin countries, and particularly in Italy, Gothic continued to seem alien; hence there are few examples of revived medieval design of any sort there or in Spain and Portugal before 1850. Jappelli’s highly exceptional work at Padua, mentioned earlier, is rich and delicate but not in the least plausible to Northern eyes in the way of Ehrhardt’s somewhat similar Italian Gothic houses in Dresden.