The architect was a Frenchman, Nicodemus de Tessin, and so much impressed with the designs was Louis XIV. that he specially congratulated his Swedish brother on the magnificent edifice he was proposing to erect. This king had planned to incorporate part of an older building on the site, but a fire which occurred while he was himself lying-in-state in the unfinished structure nearly cremated the body of the monarch and quite gave the architect complete liberty of design. The present building was begun by the renowned Charles XII. on his accession in 1697, and, much delayed by war and turmoil, its erection dragged on till 1760. For a wonder the later architects employed, including De Tessin's son, resisted the temptation to modify the plans.[114] Simplicity is by far the chief merit of the palace, only in the centre of each side are pilasters introduced; the top is finished with the plainest cornice and balustrade and the sky line is as horizontal as that of the sea. The building made a great impression in Europe when it was erected, and several travellers speak of it in terms of rather exaggerated praise. Thus Laing,[115] himself a Scot, after a very appreciative description, exclaims, "What are our public buildings about Edinburgh, our churches, hospitals, squares, street-fronts, with all their pillars, porticos, pilasters, cornices and carved work, compared to the composition and effect of this chaste and grand building?--minced pies, pastry-cook work in freestone." The only really serious defect is that the design is not adapted to the site and the material is not adapted to the design. Such a structure requires a vast space all round and looks cramped on a small island; it needs material of the most substantial, set off by avenues of trees and formal gardens on a lavish scale, but amid the rocks of Stockholm it is plastered and in the City of Flowers its immediate environs are comparatively destitute of vegetation.[116] In the same general style as the palace and close to it are other public buildings, but unfortunately the topography of the islands forbids their forming parts of a single great design. The beautiful Riddarhus, or Hall of Knights, the headquarters of the Swedish nobles in the capital, is a seventeenth century structure of brick and stone, designed by Simon de la Vallée, adorned with Corinthian pilasters and floral bands between the storeys. The Riksdaghuset, or Houses of Parliament, recently erected, form a fine block of red granite buildings that rather crush the little island of the Holy Ghost, on which they stand. The two upper storeys have Corinthian columns or pilasters and the sky-line is broken by sculpture rising over the balustrade. Both chambers are octagonal, and their members, for whom women vote, reach them by a most striking stairway, excellently adorned with marble, mottled, white and green. (See chapter-heading.)