In France two monuments of comparable distinction have already been mentioned, Henri Labrouste’s Bibliothèque Sainte-Geneviève of 1843-50 and Duquesney’s Gare de l’Est of 1847-52 (Plate 22B). Unfortunately the original shed of the latter, with arched principals of 100-foot span, was taken down when the station was doubled in size in the present century. Inside the library a central row of iron columns of somewhat Pompeian design—that is, resembling the slender, metallically scaled members seen in Pompeian wall paintings—still carries the two barrel roofs on delicately scrolled arches of openwork iron (Figure 14). Since the masonry walls with their ranges of window arches are visible all round, the effect produced is less novel than in the iron-and-glass court of the Coal Exchange; but Labrouste achieved much greater integration between interior and exterior (Plate 21). The Dianabad in Vienna, built by Karl Etzel in 1841-3, had a fine iron roof; the circular bracing of the iron principals, a frequent motif in large openwork members of cast iron at this time, was most appropriate to the _Rundbogenstil_ detailing of the masonry walls (Plate 66B). Monferran’s cast-iron dome on St Isaac’s in Petersburg, completed about 1842, has already been mentioned (Plate 27A). This was rivalled before very long by several American examples,[169] most notably Walter’s enormous dome, built in 1855-65, above the Capitol in Washington (Plate 82A). Baroque in silhouette and rather Baroque in detail also, this may have encouraged—along with the rising taste for elaborately plastic effects of which it was itself a notable expression—the increasingly common practice of casting the exposed iron elements of American commercial façades in the form of rich Corinthian columns and heavily moulded arches.