In 1836 Klenze completed this square, so characteristic a product of two generations of Romantic Classicism, by facing the eighteenth-century Palais Törring on the other side from the Königsbau with a _quattrocento_ arcade in order to provide a monumental and harmonious Central Post Office. Another earlier square, the Odeonsplatz, with Klenze’s Leuchtenberg Palais of 1819, his matching Odeon completed in 1828, and a range of shops of 1822, also by him, on the other side of the Ludwigstrasse, has almost as much Italian Renaissance feeling but is less derivatively Tuscan. It follows rather the work of his master Percier in Paris under the Empire. The increasing eclecticism of Romantic Classical architects is well illustrated by the fact that the Court Church[45] attached to the palace at the rear was built by Klenze in the same years as the Königsbau, 1826-37. This is covered by a series of domes on pendentives, derived presumably from the Madeleine in Paris but detailed to suggest, as Vignon’s do not, the ultimately Byzantine origin of the structural form; the immediate prototype, however, was probably one of Schinkel’s projects for the Werder Church in Berlin (see below). In the creation of the principal street of Ludwigian Munich, the Ludwigstrasse, a rival of Klenze’s, Friedrich von Gärtner (1792-1847), like Klenze ennobled by his sovereign, played a more important role. Born in Coblenz, Gärtner studied first at the Munich Academy, where he was later to be professor of architecture and, from 1841, director. After his studies in Munich, he travelled in France, Italy, Holland, and England, although he had no formal foreign training such as Klenze’s. Gärtner’s first major work, destined by its tall twin towers to dominate the long and rather monotonous perspective of the Ludwigstrasse, was the Ludwigskirche built in 1829-40 (Plate 10B). If Klenze’s Court Church was Byzantinesque, Gärtner’s church was Romanesquoid, though still in a rather Durandesque way. Even more Durandesque, and very much finer, is the long façade of Gärtner’s State Library next door, which was built in 1831-40 (Plate 10B). Here the tawny tones of the brick and terracotta, as much as the slightly medievalizing detail of the arcuated front, give evidence of the Romantic rejection of the monochromy typical of the Greek Revival. But if this façade is warm in colour it could hardly be colder in design, throwing into happy relief the richer _ordonnance_ of Klenze’s nearby War Office of 1824-6 with its rusticated arches and low wings (Figure 4). [Illustration: Figure 4. Leo von Klenze: Munich, War Office, 1824-6, elevation ]