Even where a major sixteenth-century monument had to be restored and enlarged, as was the case with the Hôtel de Ville of Paris, the architects Godde and Lesueur were at some pains to regularize and chasten the unclassical vagaries of Boccador’s original design (Plate 22A). Most of the work by Lesueur was done after 1837; from 1853 Victor Baltard (1805-74), son of L.-P. Baltard, carried on; then the whole had to be rebuilt after it was burned under the Commune. The present rather similar edifice by Théodore Ballu (1817-74), a pupil of Lebas, was begun only in 1874, the year of his death, and eventually completed by his partner P.-J.-E. Deperthes (1833-98). Except for the high French roofs, looking forward like those by Gisors on the École Normale to the next period, the general effect of Lesueur’s work here was very Italianate. A somewhat similar character can be seen in a few wholly new structures of more or less _François I_ inspiration, for example the Museum and Library at Le Havre built by C.-L.-F. Brunet-Debaines (1801-62), a pupil of Vaudoyer and Lebas, in 1845. In such a major commercial work of this period as the Galeries du Commerce et de l’Industrie in the Boulevard Bonne-Nouvelle, built by J.-L.-V. Grisart (1797-1877), a pupil of Huyot, and C.-M.-A. Froehlicher in 1838, it is hard to say whether the continuous arcading derived from French or from Italian sixteenth-century precedent. The iron-and-glass interiors were of more interest (see Chapter 7). There has seemed no need to emphasize thus far, as regards its effect on architecture, the change of regime that took place in 1830, even though that date in the other arts of France is sometimes thought to mark the triumph of _romantisme de la lettre_ over earlier Neo-Classicism. No such triumph took place in architecture, although it is evident that sources of inspiration other than the Antique were rather more frequently utilized after 1830 than before, if to nothing like the same extent as in Germany. Yet thanks to Victor Hugo and Guizot, Gothicism had by now acquired a less reactionary connotation than under the last Bourbons and was receiving the support, up to a point, of the July Monarchy (see Chapter 6). For political reasons Louis Philippe desired especially to emphasize the continuity of his liberal monarchy with the more liberal aspects of the Empire and to reclaim for France the Napoleonic glories that the Restoration had denigrated. So Napoleon’s ashes were brought back to the Invalides, where Visconti, hitherto chiefly active in the domestic field, prepared in 1842 a setting for them as funereal as the Chapelle Expiatoire but more sumptuous in its use of coloured marbles. Napoleon’s Temple de la Gloire (the Madeleine) and his Arc de Triomphe de l’Étoile were finally brought to completion, the one by Huvé in 1845, the other by Blouet in 1837, as has already been noted. Several new monuments, very much of the Empire type, were also erected in Paris.