As the study of the foundation of western Shanghai reveals, there was a sense of elegance in the refined, simple lines that characterized the entire row, bereft of the exuberant, emphatic, assertive, ornament that constituted the latest British architectural fashion, which expressed its detestation of Plalladianism and neoclassicism—London’s Regent Street then being regarded as abhorrent—calling it the product of a (i)_____ “shopocracy”. The (ii)_____ of Western architectural taste—oscillating between simplicity and ornamental (iii)_____—must have bemused Chinese observers who had long accepted that both approaches were valid and could co-exist.