William Chambers, exhibits strong English architectural elements, resulting in a product of combined cultures (Bald, 290). A replica of it was built in Munich's Englischer Garten, while the Chinese Garden of Oranienbaum includes another pagoda and also a Chinese teahouse. Though the rise of a more serious approach in Neoclassicism from the 1770s onward tended to replace Oriental inspired designs, at the height of Regency "Grecian" furnishings, the Prince Regent came down with a case of Brighton Pavilion, and Chamberlain's Worcester china manufactory imitated "Imari" wares. While classical styles reigned in the parade rooms, upscale houses, from Badminton House (where the "Chinese Bedroom" was furnished by William and John Linnell, ca 1754) and Nostell Priory to Casa Loma in Toronto, sometimes featured an entire guest room decorated in the chinoiserie style, complete with Chinese-styled bed, phoenix-themed wallpaper, and china. Later exoticism added imaginary Turkish themes, where a "diwan" became a sofa. Tea One of the things that contributed to the popularity of chinoiserie was the 18th-century vogue for tea drinking. The feminine and domestic culture of drinking tea required an appropriate chinoiserie mise en scène. According to Beevers, "Tea drinking was a fundamental part of polite society; much of the interest in both Chinese export wares and chinoiserie rose from the desire to create appropriate settings for the ritual of tea drinking." After 1750, England was importing 10 million pounds of tea annually, demonstrating how widespread this practice was. The taste for chinoiserie porcelain, both export wares and European imitations, and tea drinking was more associated with women than men. A number of aristocratic and socially important women were famous collectors of chinoiserie porcelain, among them Queen Mary II, Queen Anne, Henrietta Howard, and the Duchess of Queensbury, all socially important women. This is significant because their homes served as examples of good taste and sociability. A single historical incident in which there was a "keen competition between Margaret, 2nd Duchess of Portland, and Elizabeth, Countess of Ilchester, for a Japanese blue and white plate," shows how wealthy female consumers asserted their purchasing power and their need to play a role in creating the prevailing vogue. Literary criticism The term is also used in literary criticism to describe a mannered "Chinese-esque" style of writing, such as that employed by Ernest Bramah in his Kai Lung stories, Barry Hughart in his Master Li & Number Ten Ox novels and Stephen Marley