The architectural scene in Germany was overshadowed by the distinguished achievements of the previous period. The Schinkel tradition, although increasingly corrupted, lasted on almost indefinitely not merely in Prussia but in most German states. Stüler, Schinkel’s ablest disciple in Berlin after the death of the short-lived Persius, remained an internationally respected practitioner. He was employed in Sweden and in Hungary, as has been noted, not to speak of German cities, down to his death in 1865. By him and by many others the _Rundbogenstil_ was employed quite as late as in Austria-Hungary both in the various German states and also in the Scandinavian countries. Such a very large and prominent public building as the Berlin Rathaus of 1859-70 by H. F. Waesemann (1813-79) well indicated the long-continued hold of this mode on German officialdom. Nor was this particularly inferior in quality to much similar work produced in the earlier heyday of the _Rundbogenstil_ before 1850. As in Austria, however, alternative modes were growing increasingly popular, even though none rose to a local dominance comparable to that of revived Renaissance in Vienna. The taste of the period for elaboration, both in general composition and in detail, is everywhere evident regardless of the mode employed. French influence was not absent; indeed, specifically Second Empire features were perhaps more common than in Austria. G. H. Friedrich Hitzig (1811-81), a former assistant of Schinkel’s, had actually studied in Paris. After Stüler, he was the most prominent and successful architect of the period in Berlin, and in the fifties he built a few mansarded houses there. Along the new Viktoriastrasse in the Tiergarten quarter, where he did a great deal of work in 1855-60, one house among the eight that he built was mansarded; the others and most of those he was erecting near by in the Bellevuestrasse, the Stülerstrasse, and other streets at the same time were, however, in a much elaborated Schinkelesque vein. Suburban houses of the sixties occasionally followed Parisian modes also; but far more were clumsy variants of Schinkel’s and Persius’s Italian Villas, or else in some sort of equally clumsy Gothic.