Public buildings in Germany were only occasionally designed in the mansarded mode and, in general, only after the mid sixties. The Baugewerkschule in Stuttgart, built in 1866-70 by Josef von Egle (1818-99) its director, had projecting centre and end pavilions with crudely Parisian detailing. It is curious to realize that it was contemporary with Leins’s belated but rather distinguished Grecian Königsbau there. In Cologne the High School of 1860-2, and the Stadttheater of 1870-2 by Julius Raschdorf (1823-1914), both destroyed in the last War, were heavily mansarded and very plastically modelled; the latter, at least, on which H. Deutz collaborated with Raschdorf, had some real compositional interest in the tight interlocking of the masses (Plate 77B). Despite their very evidently French character, both were considered by contemporaries to be ‘German Renaissance’—as, for that matter, was Wieleman’s Justizpalast in Vienna—because of the specific precedent of much of the detail; German Renaissance was by this time the latest fashion, but to later eyes these buildings in Cologne were no more characteristic examples of it than the one in Vienna. Raschdorf is better known in any case for his much later Neo-Baroque work, notably the Berlin Cathedral, for which he prepared the design in 1888, although it was not built until 1894-1905. The Military Hospital by F. Heise in Dresden of 1869 was considerably more French in the strong articulation of the mansarded centre and end pavilions and also in its quite Parisian detailing than Raschdorf’s contemporary buildings in Cologne. More prominent in Dresden by far, however, is the Hoftheater, which is not at all French in character. This was designed in 1871 by Semper after his earlier theatre there had been destroyed by fire; its construction was supervised by Semper’s son Manfred after he settled in Vienna, and completed in 1878. Gone was most of the festive grace and delicacy of his Hamburg and Dresden work of the forties, even though the auditorium was not dissimilar to the one that had been destroyed. Yet in the arrangement of the interior and the disposition of the masses this rivals in clarity of organization the opera-houses of Garnier in Paris and of Van der Nüll & Siccardsburg in Vienna. The plans undoubtedly owed a great deal to the elaborate studies Semper had made for Ludwig II in 1865-7 for an opera-house to be built in Munich especially for the production of Wagner’s operas.