In Sweden the Rome-trained French architect Desprez, whose projects of the 1780s have been mentioned, was largely occupied not with building but with theatre settings; however, there is at least the excellent Botanical Institute that he built in Uppsala, designed in 1791 and completed in 1807, with its characteristic Greek Doric portico and plain wall surfaces. More notable was his grandiose project, also of 1791, for the Haga Slott in the form of a very long peripteral temple with an octastyle pedimented portico projecting in the middle of the side. But Sweden saw no such monumental example of Romantic Classicism carried to execution. Typical of actual production is the country house at Stjamsund built in 1801 by C. F. Sundahl (1754-1831); this is more English than French in character, indeed with its plain rectangular mass and central portico almost literally Anglo-Palladian. Harassed and recurrently conquered or _gleichgeschaltet_ though most of the German states were in the Napoleonic Wars (while Sweden eventually received a Napoleonic marshal as sovereign through the testament of her legitimate ruler) there was much more building altogether in these years of the turn of the century in Germany than in Sweden, or indeed in France, much of it of high quality. The frontispiece to Romantic Classicism in Germany is the Brandenburg Gate in Berlin, built in 1789-93 by K. G. Langhans (1733-1808). Still somewhat attenuated and un-Grecian in its proportions, this is the first of the Doric ceremonial gateways that were to be so characteristic of Romantic Classicism everywhere and also one of the most complex and original in composition. More ponderous and provincial is Langhans’s Potsdam theatre of 1795; but the Stadttheater at Danzig of 1798-1801 by Held, the City Architect, a cube with a Doric temple portico and a low saucer dome, follows a more Ledolcian paradigm. David Gilly (1748-1808) was a more advanced Berlin architect than the elderly Langhans; but his best work of these years is the Viewegsches Haus in Brunswick of 1801-5 with its smooth stucco wall-planes, boldly incised ornament, and Greek Doric porch. More elegantly French is another Brunswick house of this period, the free-standing Villa Holland of 1805 by P. J. Krahe (1758-1840).