In the thirties Klenze, who had already visited Greece in 1823-4 before the establishment of a Wittelsbach monarchy gave employment to Bavarian architects there, was called to Petersburg. There, in 1839-49, rose his Hermitage Museum. The elaborate detailing of this, however Grecian it may be in intention, reflects the growing taste for elaboration in the second quarter of the century as his other Classical works do not. Still later, though not as late as the Propylaeon, is the Munich Ruhmeshalle of 1843-53, a U-shaped Doric stoa which provides in the Hellenistic way a setting for a giant statue of Bavaria by Schwanthaler. This is dull, and still in the old-established Grecian mode of the earlier years of the century. More characteristically, however, Klenze left all that behind him even before 1825, when Maximilian I was succeeded by Ludwig I. Museums are the most typical monuments of Romantic Classicism, as a whole range of them[43] from the Museo Pio-Clementino by Michelangelo Simonetti (1724-81) at the Vatican in Rome of 1769-74 down at least to the Neuere Pinakothek in Munich of 1846-53 by August von Voit (1801-71) sufficiently illustrate. The two most purely Grecian examples, Smirke’s British Museum in London (Plate 33) and Schinkel’s Neues (later Altes) Museum in Berlin (Plate 13), were not yet designed when Klenze first turned his attention in the years 1822-5 to planning a gallery for paintings at Munich. Begun in 1826 and completed in 1833, the Pinakothek (later Ältere Pinakothek) might be considered the earliest monumental example of revived High Renaissance design. Yet there is little about it that cannot be matched in published French Grand Prix projects or in the plates of Durand; Bonnard’s ministry on the Quai d’Orsay in Paris, moreover, must have been rather similar. The Pinakothek was largely destroyed in the Second World War, but has now been rebuilt according to Klenze’s original design, except for the ceiling decorations. Another building by Klenze, the Königsbau section of the Royal palace in Munich, fronting on the Max-Josephplatz at right angles to Fischer’s theatre, is a more attractive early example of the Renaissance Revival. Begun in the same year 1826 as the Ältere Pinakothek, it was completed in 1833. The façade follows closely that of the Pitti Palace as extended in the seventeenth century, but carries the pilasters of Alberti’s Rucellai Palace, and in designing it Klenze must have drawn heavily on the _Architecture toscane_ of Grandjean de Montigny.[44] The planning inside is curiously free and asymmetrical considering the total regularity of the fenestration, but then little trace of the original Pitti plan had survived to be followed by an imitator.