THE NEW WING AT TRENTHAM also belongs to about the same period. The annexed woodcut shows its general character--a Palazzino in itself, with an engaged order, not altogether unlike his favourite Banqueting-house at Whitehall. It needs no more special notice. BRIDGEWATER HOUSE.--The building which most distinctly marks his “second manner” is Bridgewater House. The change is chiefly traceable in a tendency to greater freedom of treatment, and to a desire for greater richness of effect. It seems to have been partly due to a general change of architectural taste in these directions, partly to his own habituation to Gothic work at the New Palace of Westminster. Bridgewater House (built for the Earl of Ellesmere in 1847) was the last of his great Italian buildings in London. In his first design, fearing apparently too great a similarity to his Club-houses, and inclining to a more ornate style, he attempted to depart from his usual principles, and produced a design (exhibited at the Royal Academy) in which on a lofty basement appeared a grand Corinthian order with engaged columns and entablature unbroken. But, as usual in such cases, he could not rest content with this dereliction from the principles in which both study and experience had confirmed him. He could not make up his mind to a “walled-up colonnade,” and double stories masked by a single order.[46] The design was rejected as too costly; and he not unwillingly returned to his usual style, and produced the design now executed. In it there was, as has been said, another conflict of principles in his mind. Profuse Gothic ornamentation had made his earlier Italian simplicity seem insipid; for a time his pencil was busy, covering every yard of plain surface with panelling and sculpture. But here also his old principles reasserted their dominion, and the design ultimately came out as we at present see it, more ornate than his former works, but yet preserving a general character of simplicity. The street front remained uniform as in his Club-houses; in the Park front internal requirements forced upon him the very effective variety of the great three-light windows at each end of the façade. The porch he was obliged to add for convenience sake, but, as it were, under protest, for it seemed to him, as usual, an excrescence. The chief peculiarity in the design was the treatment of the upper [Illustration: BRIDGEWATER HOUSE, LONDON. ELEVATION OF FRONT TOWARDS THE GREEN PARK.]