The Covent Garden Theatre in London was rebuilt in 1808-9 by Smirke. This pupil of Soane had, like Wilkins, seen ancient Greek buildings with his own eyes and generally aimed to imitate them very closely. His theatre was somewhat less correct than the Cambridge college, but despite the castles he had built it was Smirke rather than Wilkins who carried forward the Grecian mode at its most rigid through four more decades (see Chapter 4). Wilkins, however, at Grange Park in Hampshire in 1809 had shown, as C.-E. de Beaumont (1757-1811) had done at a country house called ‘Le Temple de Silence’ just before the Revolution in France, how the accommodations of a fair-sized mansion could be squeezed inside the temple form (admittedly with some violence to the latter). Grange Park provided an early paradigm of a Grecian domestic mode destined to be curiously popular at the fringes of the western world in America, in Sweden, and in Russia, but very rarely employed in more sophisticated regions (see Chapter 5). The house was much modified by later enlargements of 1823-5 by S. P. Cockerell and of 1852 by his son C. R. Cockerell (1788-1863). Grecian design descended slowly to the world of the builders. The relatively restricted urban house-building of the two decades before Waterloo maintained a close resemblance to that of the 1780s. Russell Square in London, built up by James Burton (1761-1837) in the first decade of the new century, does not differ notably from Bedford Square of twenty years earlier—probably by Thomas Leverton (1743-1824)—except that the façades are smoother and plainer. But a still greater crispness of finish could be, and increasingly was, obtained by covering terrace houses—as for that matter most suburban villas also by this time—with stucco. In this respect the work of some unknown designer in Euston Square in London, which was built up at the same time as Russell Square, may be happily contrasted with Burton’s (which has in any case been much corrupted by the introduction around 1880 of terracotta door and window casings). In industrial construction, such as the warehouses by William Jessop at the West India Docks, begun in 1799, and those by D. A. Alexander (1768-1846) at the London Docks, begun in 1802, the grandeur and simplicity characteristic of Romantic Classicism can be seen at their best.[22] These warehouses also presage the importance of commercial building in a world increasingly concerned with business (see Chapter 14).