Kornhäusel’s Schottenhof, opening off the Schottengasse, is a housing development built in 1826-32 in collaboration with Joseph Adelpodinger (1778-1849). This is of extraordinary extent and arranged very regularly around several large internal courts. The smooth stucco walls, restricted ornamentation, and regular fenestration, brought out to the wall surface by double windows, can be matched in many streets of the city that were built up in these decades. Behind such a façade in the Seitenstettengasse lies Kornhäusel’s elegant but rather modest Synagogue of 1825-6. This has an elliptical dome and an internal colonnade that carries a narrow gallery. Much richer is his rectangular main hall of 1823-4 in the Albertina; as has been noted, this palace had already been enlarged in 1801-4 in Romantic Classical style by Montoyer. Kornhäusel’s hall is finished in mirror and in pale yellow and pale mauve scagliola with chalk-white Grecian details and sandstone statues of the Muses by J. Klieber. With Kornhäusel all is classical; Sprenger, on the other hand, employed a rather tight version of the _Rundbogenstil_, more Renaissance than medievalizing, for his considerably later Mint of 1835-7 in the Heumarkt in Vienna. More original, and with charming arched window-frames of terracotta in delicate floral bands, is his Landeshauptmannschaft of 1846-8 at 11 Herrengasse. This contrasts happily with the Diet of Lower Austria, projected in 1832-3 and built in 1837-44 by Luigi Pichl (1782-1856), next door at No. 13, a rather heavy and conventional example of Romantic Classicism; so also does No. 17, a very simple block originally built by Moreau for the Austro-Hungarian Bank in 1821-3. The later bank building across the Herrengasse at No. 14, built by Heinrich von Ferstel (1828-83) in 1856-60, well illustrates the modulation of the _Rundbogenstil_ here, as in Germany, towards richer and more Gothicizing forms after the mid century. The glass-roofed passage extending through this to the Freyung is still very attractive, despite its shabby condition, and worthy of comparison with other extant examples of passages elsewhere in the Old and New Worlds (see Chapters 3, 5, and 8). The great nineteenth-century Viennese building campaign of Francis Joseph began in 1849 with the initiation of the Arsenal. There the outer ranges (now mostly destroyed by bombing) were completed in 1855 from designs by Edward Van der Nüll (1812-65), a pupil of Nobile and Sprenger, and his partner August Siccard von Siccardsburg (1813-68). The Army Museum of 1850-6 is by Ludwig Foerster (1797-1863) and Theophil von Hansen (who had married Forster’s daughter after moving from Athens to Vienna), and the chapel of 1853-5 is by Karl Rosner (1804-59). These are all in slightly varying _Rundbogenstil_ modes, and they show, like Ferstel’s bank, the changed taste of the mid century, most notably in their rather violent brick polychromy (see Chapter 8).