One cannot properly say that international Romantic Classicism derives to any major degree from Ledoux and Boullée; one can only say that their projects of the eighties epitomized most dramatically the final ending of the Baroque and the crystallization of the style that succeeded it. Many French architects of the generation of Poyet and Desprez, however, such as J.-J. Ramée, Pompon, A.-L.-T. Vaudoyer, L.-P. Baltard, Belanger, Grandjean de Montigny, Damesme, and Durand (to mention only those whose names will recur later) came close to rivalling even the grandest visions of Ledoux and Boullée in projects prepared in the nineties.[16] After such exalted work on paper, the buildings actually executed by this generation of Romantic Classicists often seem rather tame. So also were the glorious social schemes of the political revolutionaries much diluted by the functioning governments of Consulate and Empire before and after 1800. Only in England did the decades preceding the French Revolution produce any development in architecture at all comparable in significance to what was taking place then in France. But there also it is the projects rather than the executed work of Dance—of which very little remains except his early London church of All Hallows, London Wall, of 1765-7—that modern investigators have come to realize led most definitely away from the transitional ‘Adam Style’ towards Romantic Classicism. His Piranesian Newgate Prison, begun in 1769, was demolished in 1902. By 1790, both in France and in England, the new ideas had taken firm root, however, and other countries were not slow to accept the mature style once it had been fully adumbrated. The fact that the nineteenth century began with much of Europe under the hegemony of a French Empire does not quite justify calling the particular phase of Romantic Classicism with which the nineteenth century opens _Empire_, although this is frequently done in most European countries. Yet the prestige of Napoleon’s rule, and indeed its actual extent, ensured around 1800 the continuance of that French leadership in architecture which had started a century earlier under Louis XIV. Beyond the boundaries of Napoleon’s realm and the lands of his nominees and his allies, moreover, French émigrés carried the new architectural ideas of the last years of the monarchy—for many of them were revolutionaries in the arts, although like Ledoux politically unacceptable to the leaders of the Revolution in France. Even in the homeland of Napoleon’s principal opponents, the English, the prestige of French taste, high in the eighties, hardly declined with the Napoleonic wars. The mature Romantic Classicism of England in the last decade of the old century and the first of the new is certainly full of French ideas, even though it is not always clear exactly how they were transmitted across the Channel in war-time.