The so-called “Victorian Gothic” was used to a great extent for secular work as late as 1870, and as it was much stimulated by the writings of Street upon Spain and Northern Italy and by Ruskin’s “Stones of Venice,” there were frequent attempts at polychromy, shown in the use of different colored stone, brick, and terra cotta, and, in the Albert Memorial, by means of mosaic. R. W. Edis and E. W. Godwin were among the foremost practitioners of the time, but in spite of the cleverness and boldness of design shown in some of their city and suburban buildings, neither they nor others could prolong the life of the fashion, and it presently yielded to the revival of a previous one, and the Renaissance forms of the time of Queen Anne became the vogue, especially for country houses,—nowhere more homelike than in England. In the suburb of Bedford Park, in Lowther Lodge, as in his designs for the Alliance Assurance Company and the new Scotland Yard, Norman Shaw showed the facility of his clever pencil, and Ernest George Peto gave many evidences of his skill and taste; their work, however, often having a flavor of the Flemish. The building of the Thames Embankment, the opening of new streets,—such as Holborn Viaduct and Shaftesbury Avenue,—with the widening and straightening of others, have done much for the improvement of modern London. In France, there were very many important public buildings begun in the first ten years of this century,—during the reign of Napoleon I.,—although some of them were not completely finished until the time of Napoleon III. (1848–1870). Among those in Paris were the Arc de l’Étoile by Chalgrin, the largest triumphal arch ever built, being similar in height and width to the front of Notre Dame Cathedral, omitting the upper portion of the towers; Arc du Caroussel by Percier & Fontaine—both these arches commemorating the victories of Napoleon; the churches of the Madeleine by Vignon, and of Ste. Geneviève, in honor of the great men of France; and the wing connecting the palaces of the Tuileries with the Louvre, parallel to (but furthest from) the river. The Corps Législatif, which was formerly the Palais Bourbon, was remodeled in 1807 by Poyet, and has for its river front a portico with pediment sustained by twelve columns, a greater number than any other existing building can show. If there be one style more than any other which needs sunshine and a clear atmosphere to show it to advantage, it is the classic; and a Greek or Roman temple in the atmosphere of fog, rain, and snow, of Edinboro, London, Munich, or even Paris, does not produce at all the same impression as if it were under the blue skies of Italy, Sicily, or Greece; however, the frequent employment of classical _motifs_ since the beginning of the century has contributed, to a degree unprecedented in modern times, towards placing Paris in the very foremost rank among the capitals of the world in the dignity and impressiveness of its public buildings.