city after the 1906 earthquake and fires Burnham's plans were ultimately ignored. In the Philippines, Burnham's Plan for Manila never materialized due to the outbreak of World War II and the relocation of the capital to another city after the war. Some components of the plan, however, did come into fruition including the shore road which became Dewey Boulevard (now known as Roxas Boulevard) and the various neoclassical government buildings around Luneta Park, which very much resemble a miniature version of Washington, D.C., in their arrangement. In Washington, D.C., Burnham did much to shape the 1901 McMillan Plan which led to the completion of the overall design of the National Mall. The Senate Park Commission, or McMillan Commission established by Michigan Senator James McMillan, brought together Burnham and three of his colleagues from the World's Columbian Exposition: architect Charles Follen McKim, landscape architect Frederick Law Olmsted Jr., and sculptor Augustus Saint-Gaudens. Going well beyond Pierre L'Enfant's original vision for the city, the plan provided for the extension of the Mall beyond the Washington Monument to a new Lincoln Memorial and a "pantheon" that eventually materialized as the Jefferson Memorial. This plan involved significant reclamation of land from swamp and the Potomac River and the relocation of an existing railroad station, which was replaced by Burnham's design for Union Station. As a result of his service on the McMillan Commission, in 1910 Burnham was appointed a member and first chairman of the United States Commission of Fine Arts helping to ensure implementation of the McMillan Plan's vision. Burnham served on the commission until his death in 1912. Influence In his career after the fair, Burnham became one of the country's most prominent advocates for the Beaux-Arts movement as well as the revival of Neo-classical architecture which began with the fair. Much of Burhham's work was based on the classical style of Greece and Rome. In his 1924 autobiography, Louis Sullivan, one of the leading architects of the Chicago School, but one who had a difficult relationship with Burnham over an extended period of time, criticized Burnham for what Sullivan viewed as his lack of original expression and dependence on classicism. Sullivan went on to claim that "the damage wrought by the World's Fair will last for half a century from its date, if not longer" – a sentiment edged with bitterness, as corporate America of the early 20th century had demonstrated