Where Napoleon’s Elephant Monument was to have marked the site of the Bastille, J.-A. Alavoine (1778-1834), and after his death L.-J. Duc (1802-79), a pupil of Percier, erected in 1831-40 the gigantic Colonne de Juillet, rather less Imperial Roman and more French Empire than Napoleon’s Colonne Vendôme, but like that all of metal. In the centre of the Place de la Concorde there rose, with echoes of Napoleon’s Egyptian campaign (and less relevantly of Sixtine Rome), a real obelisk presented to Louis Philippe by the Khedive in 1833; thereafter, Hittorff ornamented in 1836-40 the square, the Champs Élysées, the Place de l’Étoile, and the Avenue de la Grande Armée with big fountains, lamp standards, and other pieces of elaborate urbanistic furniture. While the Empire embellishment of Paris was thus finished up or complemented, the July Monarchy also developed a fantastically extensive activity in the construction of hospitals, prisons, and other such utilitarian structures. Vast and plain, these could hardly be duller in the eyes of posterity. Yet they derive quite directly from Durand’s admirable paradigms for such structures and more remotely from the social, if not the aesthetic, aspirations of such men of high talent as Ledoux and Boullée, who initiated Romantic Classicism before the Revolution. If a funerary edifice—the Chapelle Expiatoire—best epitomizes the architecture of the Restoration, some enormous public institution is the contemporary, if inappropriate, architectural equivalent of the Romantic arts of Delacroix and Berlioz in the thirties and forties! Very conspicuous, and quite characteristic of these as a class, is the Hôtel Dieu, beside Notre-Dame in Paris, although this was actually built[66] very much later, in 1864-78, by A.-N. Diet (1827-90). It is the only one that can be readily seen without being jailed or certified; but most of them were amply presented in contemporary publications. Penchaud, whose Marseilles Protestant church has already been mentioned, was one of the ablest and most productive provincial architects of the Restoration and Louis Philippe periods. His lazaret at Marseilles, built in 1822-6, is more Ledoux-like than the Aix Palace of Justice that he erected on Ledoux’s foundations and considerably more original than his triumphal arch of 1823-32 at Marseilles, called the Porte d’Aix. On this arch, however, the liveliness of the relief sculpture provides something of the same Romantic _élan_ as that of Rude on the Arc de l’Étoile—Rude’s work dates, of course, from the Louis Philippe period. The Marseilles arch continues the Roman ideals of the Empire; the more significant lazaret revives the social and utilitarian ideals of the preceding Revolutionary period.