Like the lushness of the New Louvre, Garnier’s lushness has an undeniably parvenu quality characteristic of the time and place; but the pace he set, however much emulated all over the world in later opera houses, and the peculiar capacity he showed for satisfying the taste for bombastic luxury of the third quarter of the century were never equalled by other architects, least of all by French ones. In the twin theatres flanking the Place du Châtelet,[190] which were built in 1860-2, Davioud, the architect of the Rotonde des Panoramas, made little attempt to vie with Garnier’s Opéra; but they are considerably more successful in their own right than is the Vaudeville in the Boulevard des Capucines of 1872 by A.-J. Magne (1816-85), which does. Garnier’s own Panorama Français of 1882 at 251 Rue Saint-Honoré has only a modest façade to the street. Only one other work of Garnier himself rivals the Opéra, his Casino at Monte Carlo of 1878. The fine site that this occupies somewhat makes up for its tawdry finish in painted stucco, and the two-towered façade towards the bay has a properly festive air. The Casino and Baths he built at Vittel in 1882, his Observatory at Nice, and the Cercle de la Librairie of 1880 in the Boulevard Saint-Germain in Paris are considerably quieter in design. The Palais Longchamps[191] of 1862-9 in Marseilles by H.-J. Espérandieu (1829-74), who had worked for Questel and for Vaudoyer, two palatial museum blocks joined by a curved colonnade above an elaborate cascade, is more Neo-Baroque than most work of the period (Plate 70A); but much of the credit should go to the sculptor Bartholdi whose earlier fountain project Espérandieu took over. [Illustration: Figure 15. J.-L.-C. Garnier: Paris, Opéra, 1863-74, plan ] Despite what has been said of the houses at the Rond Point, most Second Empire mansions in Paris, at least those built by leading architects, tend to be rather restrained in their general design and often quite archaeologically correct in their detailing. They are likely, moreover, to follow French seventeenth- or eighteenth-century models rather than those of sixteenth- or seventeenth-century Italy. Already, in the Hôtel de Pontalba, Visconti had copied Versailles closely in the interiors, while his exterior followed the line of the early eighteenth-century _hôtels particuliers_. (This was drastically remodelled in the eighties.) Labrouste, in the Hôtel Fould, 29-31 Rue de Berri, which was built in 1856-8, was rather plausibly Louis XIII; while Alfred Armand (1805-88), a pupil of Leclerc and a frequent collaborator with Pellechet, in designing the Hôtel Pereire and its twin in the Place Pereire about 1855 approached the _style Louis XVI_ as closely as Hittorff did round the Étoile. Nevertheless, study of Parisian exemplars inspired many foreign architects to design houses that could hardly be anything else but Second Empire.