The modes of Second Empire Paris left rather more mark on Holland than did those of the First Empire, particularly in the work of Cornelis Outshoorn (1810-75), whose iron-and-glass Paleis voor Volksvlijt in Amsterdam of the late fifties has been mentioned earlier. That is long gone, but the related Galerij, a U-shaped range of mansarded blocks linked by a sort of veranda of cast iron, till lately bounded the south of the Frederiksplein. His enormous Amstel Hotel, near by on the farther side of the Amstel, was built in 1863-7. At Scheveningen the Oranje Hotel (1872-3), also by him, was one of several typical resort establishments there of an international Second Empire order, as is also his hotel at Berg-en-Dal near Nijmegen (1867-9). Fairly generally high mansards rose in the sixties and seventies over the narrow house-fronts in the new quarters of Dutch cities. However, the opposing Neo-Gothic is more significant historically in Holland, and the secular work of Cuijpers as well as his churches, although rather like Clason’s, is better considered in that connexion (see Chapter 11). As in the Scandinavian countries, the nineties saw new beginnings in Holland, in this case with the appearance of Berlage and Kromhout (see Chapter 20). The principal Anglo-American developments in the second half of the century were in the specialized fields of domestic and commercial building (see Chapters 14 and 15). England, moreover, had from 1850 to the early seventies a lively stylistic development of her own, the High Victorian Gothic, rather different from the later Neo-Gothic of the Continent, which was also very influential in the Dominions and in the United States (see Chapters 10 and 11). Nevertheless, the international Second Empire mode flourished on both sides of the Atlantic among Anglo-Saxons to a greater extent, perhaps, than anywhere in Europe. It is not, of course, possible to subsume all non-Gothic work of these decades in England under the Second Empire rubric any more than on the Continent. Yet, with certain notable exceptions, the most vigorous and conspicuous buildings of a generically Renaissance character were clearly inspired by Paris, and often specifically by the New Louvre, as Prosper Mérimée noted and wrote to Viollet-le-Duc while on a visit to London in the mid sixties.