For less representational edifices, from town halls and markets to prisons and barracks, Durand’s utilitarianism led him to substitute for colonnades and domes plain walls broken by ranges of arcuated openings, sometimes of _quattrocento_ or Roman-aqueduct character but as often of vaguely medieval inspiration. For nearly a half century such paradigms were very frequently followed, not only in France but even more in other countries, as Classicism continued to grow more Romantic. Nor were the designs for houses that Durand provided in the final section of his book entirely uninfluential.[41] However, there were fewer of these, and the inspiration of far more executed work of the next forty or fifty years can be traced to his paradigms for public monuments than to his prescriptions for private dwellings. Indeed, Romantic Classicism is a predominantly public style, and its utilitarianism is of the State rather than of the private individual. However, the opposing current of the Picturesque, reflected in Durand’s book only in his concern for the ‘employment of the objects of nature in the composition of edifices’ (by which he meant hardly more than Italianate fountains and even more Italianate vine-hung loggias), provided amply for the individual (see Chapter 6). It might seem natural to continue from this discussion of Durand’s treatise with some account of the executed architecture of France during the final years of the Empire after 1810, under the last Bourbons, and under Louis Philippe. Actually, however, the most concrete examples of Durand’s influence, and certainly the finest Durandesque monuments, are to be found not in France but in Germany and Denmark. By the time of Napoleon, French influence on German architecture was a very old story. More and more French architects were employed by German princes as the eighteenth century proceeded, and by 1800 there were few German centres without examples of their work. As we have seen in the previous chapter, moreover, the work of various German architects in the 1790s and the early 1800s, whether or not they had actually studied or even travelled in France, showed their devotion to the early ideals of Romantic Classicism. Such men as K. G. Langhans and David Gilly in Berlin, Fischer in Munich, or Weinbrenner in Karlsruhe had no Napoleon to employ them; but they were happier than his architects in seeing their major works brought to relatively early completion. At Karlsruhe Weinbrenner’s comprehensive projects for the new quarters of the town continued to go forward down to his death in 1826. By that time his City Hall had finally been finished, and street after street of modest houses filled out the pattern of a coherent Romantic Classical city.