Many houses in Hamburg built by Gottfried Semper (1803-79), Alexis de Chateauneuf (1799-1853), who had studied in Paris, and others in the forties were of elegant Early Renaissance design—one by the former even having _sgraffiti_ on the walls—more like Klenze’s row of shops in the Odeonsplatz. The Rücker-Jenisch house of 1845 by the Swiss-born Auguste de Meuron (1813-98), a pupil of the same French architect, A.-F.-R. Leclerc, as de Chateauneuf, was certainly not _Rundbogenstil_ but rather a version of the Travellers’ Club in London. Thus it followed, in this anglicizing city, an epoch-making model by Charles Barry that dates from fifteen years earlier (see Chapter 4). However, de Chateauneuf’s Alster Arcade beside the waters of the Kleine Alster and his red brick Alte Post (now the Welt-Wirtschafts-Archiv) of 1845-7 in the Poststrasse are both prominent and excellent examples of the _Rundbogenstil_ of this period in Hamburg, the latter being slightly Gothic in its detailing. The work of Hübsch, Weinbrenner’s successor as State architect in Baden, despite his very serious archaeological study of Early Christian and Romanesque architecture,[47] falls somewhere between Gärtner’s Ludwigskirche and Ziebland’s Bonifazius Basilika without achieving either the crisply Durandesque quality of the one or the relative archaeological plausibility of the other. In his civil buildings, such as the very simple Ministry of Finance designed in 1827 and built in 1829-33, the more ornate Technische Hochschule of 1832-6, the Art Gallery of 1840-9, and the Theatre of 1851-3, all in Karlsruhe, very considerable originality of composition was more and more confused as he grew older by the fussy elaboration of the terracotta ornamentation. In his later work Hübsch frequently used not the round but the segmental arch—a highly rational form with brick masonry—and was usually somewhat happier than the Bavarians in handling the tawny tonalities of brick and terracotta which so generally replaced the pale monochromy of the Greek Revival in the thirties and forties. A minor but especially fine example of his most personal manner is the Trinkhalle of 1840 at Baden-Baden (Plate 11A), rather better suited in its festive spirit to a watering-place than the Classical severity of Weinbrenner’s Kurhaus there of 1821-3. Hübsch’s churches are naturally more archaeological in character and definitely more Romanesquoid than _Rundbogenstil_. Those at Freiburg (1829-38), Bulach (1834-7), and Rottenburg (1834) are typical. The _Rundbogenstil_ railway stations of another Baden architect, Friedrich Eisenlohr (1804-55), at Karlsruhe (1842) and Freiburg precede Bürklein’s in Munich in date and are rather superior to it.