Rounding out the Ludwigstrasse are many other consonant structures. By Klenze is the Herzog Max Palais of 1826-30 on the right; by Gärtner the Blindeninstitut of 1834-8, farther down opposite the Ludwigskirche, and the University of 1834-40 together with the Max Joseph Stift that complete the terminal square. There stands also the inharmoniously Roman Siegestor of 1843-50 which is, rather surprisingly, also by Gärtner. Far more appropriate, if equally unoriginal, is his Feldherrenhalle of 1841-4 at the other end of the street above the Odeonsplatz, a close copy of the fourteenth-century Loggia dei Lanzi in Florence. The whole area constitutes what is perhaps the finest, or at least the most coherent, range of streets and squares of the later and more eclectic phase of Romantic Classicism. This exceeds in extent, though not in quality, Weinbrenner’s Marktplatz in Karlsruhe of the preceding quarter century. This brilliant Munich period came to an end on Ludwig I’s abdication in 1848; his successor Maximilian II’s attempt to find a ‘new style’ for his Maximilianstrasse in the next decade was a dismal fiasco, for this ‘new style’ as applied by Friedrich Bürklein (1813-73), a pupil of Gärtner, in building up the new street in 1852-9 proved to be merely a fussy and muddled approach to the English Perpendicular, already employed with more success by Bürklein’s master. Before his death, the year before Maximilian II’s accession, Gärtner had all but completed the Wittelsbach Palace. This he had begun in 1843 using a very Durandesque version of English Tudor executed in red brick. Red brick also characterizes another example of contemporary eclecticism, the Bonifazius Basilika of 1835-40 by Ziebland. This was designed, as its name implies, in a Romantic Classical version of the Early Christian; but it is much less Roman in detail than the great French and Italian churches of the period of this generic basilican order (see Chapter 3). Most of these variant aspects of later Romantic Classicism in Munich, whether Early Christian, Byzantine, Romanesque, Italian Gothic, or _quattrocento_ in inspiration, are also examples of what was called at this time in Germany the _Rundbogenstil_.[46] A large and prominent example in Munich, late enough to illustrate how this special mode of Romantic Classicism deteriorated after the mid century, was Bürklein’s railway station built in 1857-60. The whole station has now been largely but not entirely destroyed by bombing; originally it had a handsome shed with very heavy arched principals of timber.