Barry, the head of the profession, did not enter the competition; but unofficially—for he was still an employee of the Government at the Houses of Parliament—he prepared at this time a comprehensive scheme for the development of the whole length of Whitehall from Parliament Square to Trafalgar Square. In this project he crowned all his façades—including that of his already executed Treasury—with mansards, introduced stepped-back courts like that of the New Louvre, and marked the corners and the centres of the court façades in the most Louvre-like way with pavilions crowned by still taller mansards. Had this project of Barry’s been followed, London would rival Paris and Vienna in the extent, the consistency, and the boldness of her public buildings of this period. In fact, practically nothing ever came of it nor, indeed, of the official competition; for by this period earlier traditions of urbanism had all but completely died out and architectural initiative was largely in private hands. When the competition was judged in 1857, the designs that received the top prizes both for the War Office and for the Foreign Office were in the pavilioned and mansarded manner; they derived, however, at least as much from the Tuileries as from the New Louvre. It was the rising prestige of Napoleon III, of course, that called public attention at this time to the Tuileries which was his residence—as it had been, for that matter, the residence of earlier nineteenth-century French monarchs. Otherwise no one in England would probably have thought of reviving any of the various periods, covering some four centuries, represented in its conglomerate mass or of emulating its pavilioned and mansarded composition. Since neither of these projects for ministries was ever executed, and their respective architects—Henry B. Garling (1821-1909), on the one hand, and H. E. Coe (1826-85) and his partner Hofland, on the other—never built much else of consequence, it is not necessary to linger over them. However, their designs and other Second Empire ones that received minor premiums were extensively illustrated in professional and general periodicals, and they provided favourite models in the sixties both in England and in the United States. The Paris originals, on which graphic data was not only scarcer but also less readily accessible, were not on the whole so influential. This helps to explain why French influence _appears_ to have been stronger in the Anglo-Saxon world than on the Continent, even though there was probably less direct contact with Paris.