It is impossible and unnecessary to follow Romantic Classicism to all the other German centres. At Darmstadt the Classical Ludwigskirche of 1822-7 by Georg Moller (1784-1852),[55] a pupil of Weinbrenner, is a handsome circular edifice with an internal colonnade below the dome. Thus it is rather like the ‘central space’ in Schinkel’s Museum, but more broadly proportioned. A boldly arched entrance of almost Ledolcian character is set against the external circumference of blank wall rather than the more usual temple portico. The Artillery Barracks at Darmstadt of 1825-7 by Moller’s pupil Franz Heger (1792-1836) provided a notably early example of the _Rundbogenstil_. Comparable was August Busse’s Castellated Zellengefängnis in Berlin of 1842-9, the first German example of a penitentiary radially planned and with individual cells (see Chapter 5). Stüler’s destroyed Trinitatiskirche in Cologne, a Persius-like Early Christian basilica completed in 1860, was much finer than his Berlin churches (see Chapter 9). Also _Rundbogenstil_, but of a more medievalizing order, was Semper’s Synagogue of 1838-41 in Dresden. Its centralized massing is uncharacteristically plastic. His Palais Oppenheim there of 1845-8 at 9-11 An der Bürgerwiese, based on Raphael’s Pandolfini Palace, was a handsome and very ‘correct’ example of the international Renaissance Revival to be compared, like de Meuron’s house in Hamburg, with Barry’s London clubhouses. The Cholera Fountain of 1843 in Dresden was Gothic, however, providing further evidence of Semper’s rather directionless eclecticism at this time. [Illustration: Figure 8. Gottfried Semper: Dresden, Opera House (first), 1837-41, plan ] His principal works of this period were the first Opera House[56] in Dresden of 1837-41, where Wagner’s early triumphs took place, burnt and rebuilt by Semper later, and the nearby Art Gallery of 1847-54 which completed so unhappily the circuit of the marvellous Rococo Zwinger by Daniel Pöppelmann. The one was a rather festive, the other a rather solemn example of the Renaissance Revival; both are more notable for their planning and their general organization than for any visual distinction (Figure 8). The Opera House in Hanover, built by G. L. F. Laves (1789-1864) in 1845-52, is less original in plan but more sober, even a bit Schinkelesque, in design (Plate 14B). Its interior has been completely done over since it was bombed in the Second World War.