Gärtner and the Hansens set the pace for a local Greek Revival vernacular of a rather North European order. In its detail this vernacular sometimes exceeds in delicacy that of the later centuries of antiquity, as illustrated here in the Stoa of Attalos in the Agora—at least as that has lately been reconstructed—or the Arch of Hadrian. Not all of the new construction was Grecian, however: Klenze’s Roman Catholic Cathedral (Aghios Dionysios) in University Street is a basilica with Renaissance detail, built in 1854-63; the modest English Church of 1840-3 is rather feebly Gothic and reputedly based on a design provided by C. R. Cockerell that was much modified in execution. Of the leading Greek architects of the period, Lyssander Kaftanzoglou (1812-85), Stamathios Kleanthis (1802-62), and Panajiotis Kalkos (1800?-1870?), only Kleanthis was German-trained. This talented pupil of Schinkel followed his master’s Italianate rather than his Grecian line, and the house he built in 1840 for the Duchesse de Plaisance on Kiffisia Avenue (now the Byzantine Museum) is a distinguished example of a Durandesque Italian villa, with simple arcading front and rear and low corner towers. Kaftanzoglou, trained at the École de Beaux-Arts in Paris and in Milan, was somewhat less able; but the large quadrangular Grecian structure that he designed in the fifties and built in 1862-80 to house the Polytechneion in Patissia Street more than rivals the academic buildings by the Hansens in University Street in the careful ordering of its parts and the correct elegance of its details. Of Kalkos’s work little remains in good condition today. The new capital of remote Greece possesses more, and on the whole more impressive, Romantic Classical buildings than do Vienna and Budapest, capitals of the Austro-Hungarian Empire. In them ambitious urbanistic projects were initiated only later after the accession of Francis Joseph in 1848. The Theseus Temple in the Volksgarten in Vienna of 1821-3 by Peter von Nobile (1774-1854),[58] a Swiss who had made his reputation in Trieste, is hardly more than a large Grecian garden ornament conscientiously copying the fifth-century Hephaisteion in Athens line for line. His nearby Burgtor, begun the following year, is much worthier in its heavy, almost Sanmichelian, way. More characteristic, however, is the work of Joseph Kornhäusel (1782-1860) and of Paul Sprenger (1798-1854).