In Berlin, in the later twenties, Schinkel was also remodelling and redecorating palaces for Frederick William’s brothers, major works in scale but rather limited in architectural interest.[50] More characteristic of Schinkel’s best Grecian manner is the somewhat later palace for Prince William built in 1834-5 by the younger Langhans (K. F., 1781-1869). This architect’s still later theatre at Breslau, begun in 1843, is worth mention at this point and also the old Russian Embassy of 1840-1 in Berlin by Eduard Knoblauch (1801-65), but Schinkel’s comparable work is fifteen years earlier. At Potsdam, even though much of what he did there also consisted of enlarging earlier buildings, Schinkel was freer than in Berlin. Collaboration with the gardener P. J. Lenné (1789-1866), who provided superb naturalistic settings in the tradition of the English garden, may have encouraged a looser and less Classical sort of composition. In many views, Charlottenhof with its dominating Greek Doric portico, remodelled from 1826 on as the residence of the Crown Prince, may appear a sufficiently conventional Greek Revival country house. But if one considers the planning of the house and its close relation to the raised terrace, and also the relation to the solid block of the open pergola—’an object of nature’ in Durand’s special sense—one sees that here, as earlier at the Zivilcasino, but from no necessity enforced by the site, Schinkel sought to apply the most stringent sort of geometrical order to an asymmetrical composition. For this, of course, the Erechtheum and to some extent the Propylaea on the Akropolis, those two fifth-century Greek examples of Romantic Classicism, provided precedents. At Schloss Glienecke near by, also begun in 1826 for another Prussian prince, Karl, whose palace in Berlin he was remodelling too, the Athenian derivation is very patent in the later belvedere of 1837 based on the Choragic Monument of Lysicrates. But it is the asymmetrical massing of carefully organized elements here that reveals the extent to which Schinkel was able to absorb and actually to synthesize with the discipline of Romantic Classicism one of the major formal innovations of the Picturesque. The bold off-centre location of the tower actually makes of this a sort of Italian Villa in the Cronkhill sense. In the enlargement of the medieval Kolberg Town Hall in Pomerania, begun in 1829, Schinkel employed secular Late Gothic in a version as stiff and mechanical as that of Gärtner’s Wittelsbach Palace a decade later. A remarkable centrally-planned Hunting Lodge, built for Prince Radziwill at Ostrowo in 1827, on the other hand, illustrated a bold attempt to apply the principles of Durandesque structural rationalism to building in timber; the result is very different indeed from the contemporary American, Russian, and Swedish houses of wood that were designed as copies of marble temples.