Thus Romantic Classicism before Waterloo had major representatives all the way from Latrobe and Mills in America, the one a foreigner, the other a native, to Thomon and his two native rivals in Russia; while the work of Leconte in Naples could once be matched by that done by Ramée in Hamburg and Denmark before he went to America and by the projects, at least, of Desprez in Sweden (see below). Other Frenchmen were working throughout Napoleon’s realm and outside it as well; but the most distinguished architect of this period hitherto unmentioned was a Dane, C. F. Hansen (1756-1845). The design of his Palace of Justice of 1805-15 in the Nytorv in Copenhagen, with its associated gaol, derives from the most advanced projects made by Frenchmen in the earlier years of Romantic Classicism before 1800. The gaol and the arches of its courtyard are more definitely Romantic than anything executed in France under Louis XVI, for they specifically recall the ‘Prisons’ of Piranesi, those strange architectural dreams in which the Baroque seems to become the Romantic before one’s very eyes. The gaol also resembles a prison designed for Aix by Ledoux and owes a certain medieval flavour, one must presume, to Hansen’s first- or second-hand knowledge of the projects of Boullée. Still finer, because more homogeneous in conception if less pictorially Romantic, is the principal church in Copenhagen, the Vor Frue Kirke in the Nørregade, designed in 1808-10 by Hansen and built over the years 1811-29. The severely plain tower above the Greek Doric portico at the front illustrates the more primitivistic and Italianate aspects of Romantic Classical theory—more precisely it might seem to derive from the tower of a project for a slaughterhouse by F.-J. Belanger (1744-1818),[37] a pupil of Leroy. The interior, eventually furnished with statues of Christ and the Twelve Apostles by one of the greatest Romantic Classical sculptors, the Danish Thorwaldsen, raises its ranges of Greek Doric columns to gallery level above a smooth arcuated base (Plate 4B). These carry a coffered Roman barrel vault in a way that follows quite closely, although with some change in the proportions, Boullée’s project for the Bibliothèque Royale. Not the least successful and original feature of the exterior is the plain half-cylinder of the half-domed apse broken only by a portal of almost Egyptian simplicity. But in Copenhagen, with its old tradition of building in brick, the characteristic Romantic Classical surfaces of smooth stucco seem alien and the curious pinky-brown that Hansen’s buildings are painted is certainly a little gloomy today.