French architectural prestige revived internationally in the fifties to remain surprisingly high for another two generations.[196] However, the Second Empire mode was gradually succeeded internationally by another Parisian mode to which it is convenient to apply the name ‘Beaux-Arts’, from the École des Beaux-Arts out of whose instruction it stemmed. More and more foreigners went to Paris to study as the second half of the century wore on, until Paris became almost what Rome had been in the eighteenth century. In architectural education the influence of the École was especially strong in the New World; the training of English and most Continental architects was much less affected. The first two architectural schools to be founded in the United States, both by William Robert Ware (1832-1915)—himself, curiously enough, a practitioner of a fairly aggressive sort of Victorian Gothic (see Chapter 11)—that at the Massachusetts Institute of Technology in Boston opened in 1865 and the somewhat later school at Columbia University in New York, were both based on the methods of the École.[197] French winners of the Prix de Rome were increasingly imported to serve as teachers, and three generations later the last of them had not yet left the United States. The influence of the École in Latin America was even more powerful, and the dominance of its ideas has lasted in some countries down almost to the present.[198] Both in the New World and the Old most cities grew like weeds in the third quarter of the century; the analogy is, indeed, a rather accurate one, for the growth was characteristically rank, uncontrolled, and destructive of earlier architectural amenities. Various European capitals, however, imitating Napoleon III’s re-organization of Paris, took advantage of the clearing away of their fortifications to lay out something equivalent to the _grands boulevards_. Florence during the late sixties, for example, when it was very briefly the capital of Italy, saw the laying out, according to the general plan of Giuseppe Poggi (1811-1901), of a range of avenues and squares that extend around the city to the east, north, and west on the site of the old walls. These districts, built up over the years 1865-77, display little or none of the new Second Empire afflatus. For the most part everywhere in Italy in this period the architecture is of generically Renaissance revival character. Only in the much later Piazza della Repubblica, carved out of the slummy heart of the city in the 80s and 90s, is there a heavy pomposity of scale that is curiously un-Florentine—the centre of nineteenth-century Athens might be Neo-Greek, but it was Munich, not Florence, that became characteristically Neo-Tuscan!