Far more successful than either of these, if now overshadowed by the megalomaniac Classicism of the twentieth-century Philadelphia Museum of Art by Horace Trumbauer and others on the hill above, are the waterworks begun in 1811 on the banks of the Schuylkill. These are probably but not certainly by Mills rather than by the engineer Frederick Graff, whose name is signed to the drawings. These very utilitarian structures are most characteristic of the beginnings of Romantic Classicism in America, where Latrobe, Mills, and also Strickland were all three engineers as well as architects. Moreover, it is evident that engineering considerations often influenced their approach to architecture, just as architectural considerations gave visual distinction to much of their engineering. Thus they may be compared with engineers like Telford and Rennie in England as well as with the English architects of their day. In this so-called ‘Federal’ period, when Romantic Classicism centred in the Middle Atlantic states thanks to Latrobe, Godefroy, Mills, and Strickland, the leading architect outside this area, the Bostonian Charles Bulfinch (1763-1844), was a late-comer to Romantic Classicism. His great public monument of the 1790s, the Massachusetts State House in Boston, had been designed originally as early as 1787-8, and even as executed in 1795-8 it derived principally from the Somerset House in London of Sir William Chambers (1726-96) and in one interior from Wyatt. His Boston Court House of 1810 first showed evidence of a change in his style, notably in its smooth ashlar walls of cold grey granite. That was a local material destined to lend particular distinction to the principal Romantic Classical buildings of Boston from this time forward (see Chapter 5). The Frenchmen who came to America at the end of the eighteenth century or in the early 1800s (and shortly left again) could hardly import the French architecture of those decades; on the one hand, they had all been trained before the Revolution, from which most of them were in flight; on the other hand—and more consequently—there was almost no later architecture for them to reflect. Between 1789 and 1806 French building was at a standstill. Architects were mostly busy, if at all, with the decoration of various revolutionary fêtes and the accommodation of new political agencies in old structures.