In the old Savoy capital of Turin, where the first half of the century had seen such notable urbanistic projects, a vigorous local tradition continued to control most of the new work.[199] However, at the farther side of the Piazza Carlo Felice the Porta Nuova Railway Station was built in 1866-8, as was mentioned in Chapter 3, by the engineer Mazzuchetti and the architect Ceppi in a rather original sort of _Rundbogenstil_. The vast iron and glass lunette at the front still provides a handsome termination to the long axis of the Via Roma, although the rear of the station has been rebuilt since the War. Along the Corso Vittorio Emmanuele II the earlier arcades of Promis were continued almost indefinitely; but the detailing of the façades grew continually richer in evident emulation of Second Empire Paris. This influence also affected the building up of the contiguous quarter of the city. In the fine new square at the end of the Via Garibaldi, however, balancing the earlier Piazza Vittorio Veneto at the end of the Via Po, the Piazza dello Statuto opened in 1864, the façades by Giuseppe Bollati (1819-69) are not at all Parisian, but recall rather the local Academic Baroque of Juvarra. Especially effective, and rare in Turin, are the warm and tawny colours of the painted stucco walls here. With the uniting of Italy and the eventual taking over of Rome as the capital of the kingdom of Italy on the downfall of Napoleon III in 1870, a tremendous expansion[200] of the old Papal city began. The two principal new streets extending eastward, the Via Venti Settembre and the Via Nazionale, were laid out in 1871 and built up over the next fifteen years. Vast and tawny-coloured like the Piazza dello Statuto in Turin, but much less distinguished in design, is the Finance Ministry in the former street built by Raffaele Canevari (1825-1900) in 1870-7. Equally grand in scale and much more dignified are the quadrantal façades of the Esedra built by Gaetano Koch (1849-1910) in 1885 at the head of the Via Nazionale facing Michelangelo’s Santa Maria degli Angeli (Plate 76A). With the fine later fountain by A. Guerrieri and Mario Rubelli in the centre this provides a most impressive piece of late-nineteenth-century academic urbanism. It still offers a not altogether unworthy preface to the Baths of Diocletian—of which it actually occupies the site of the largest exedra—and to the new railway station (Plate 183B), both so near, which epitomize between them the ancient and the modern worlds in the architecture of Rome.