George Basevi, another pupil of Soane’s, contrived a more appropriate use of the Greek style in the =Fitzwilliam Museum, Cambridge=, because he was able to avoid the incongruity of windows. H. W. Inwood (1794-1843) applied the results of his study of the Erechtheion to the design of =S. Pancras Church=; while among the examples of William Wilkins (1778-1839) are the =University of London= and the =National Gallery=. The design of the latter, which is very inferior to that of the University, was unhappily fettered with conditions. Most fortunate of all the buildings of this Classical revival in England is =St. George’s Hall=, Liverpool, by H. L. Elmes (1815-1847). It is lifted well above the level on a stylobate-terrace and the design presents a stately treatment of Greek porticoes and colonnades; but the Greek is abandoned on the threshold, the interior being an adaptation of the Roman thermæ. The incongruity of the Greek style with modern requirements led to a reaction in favour of astylar or columnless buildings; a return, in fact, to Renaissance design, which was started by Sir Charles Barry, whom we shall meet again in the Gothic Revival. GERMAN CLASSICAL PERIOD In Germany the classical revival in architecture was intimately related to the thought-movement of the time, especially as it expressed itself in literature. We have already noted the almost simultaneous publication of Stuart and Revett’s “Antiquities of Athens” and Winckelmann’s “History of Art,” and the welcome which the former received in Germany. It was stimulated by the appearance in 1765 of Lessing’s “Laokoon,” a critical treatise on painting, sculpture, and poetry. He based it upon the Classic Canons; by which he meant not the canons of French pseudo-classicalism, which had hitherto stood for classic in Germany, but the Greek canons of art and literature as laid down by Aristotle. Indeed, he affirmed that Shakespeare, despite the irregularities of his style, was nearer to the spirit of Aristotle than Racine. =Goethe’s Influence.=--Goethe, at the court of Weimar, where French pseudo-classicalism was the vogue, espoused the new movement. He had visited Italy and confirmed for himself the studies of Winckelmann and Lessing’s attitude. Being director of the Ducal Theatre, he was able in a large measure to control the dramatic taste of Germany, and encouraged Schiller to write his classical dramas. The aim of both Goethe and Schiller was to reconcile the cultural ideals of the eighteenth century with the models of ancient Greece.