Chapter 15: ). But the solid, compactly planned, and simply detailed

rectory has virtues not unworthy of comparison with Clutton’s at Leamington, if not perhaps with Webb’s more delicately scaled and functionally articulated early houses.

Two churches by Street, St John’s at Torquay of 1861-71[227] and St Philip and St James’s at Oxford, which was completed in 1862, are more standard products of the early sixties. The former is notable for the very rich marble polychromy in the chancel and the full complement of windows by Morris and Burne-Jones; the latter is more ‘Early French’ with a tall tower rising in front of the polygonal apse and a curiously unorthodox but effectively ‘real’ way of running the nave arches into the east wall with no imposts at all. This device was repeated at All Saints’, Clifton, now a ruin, where the variety of colours of the fine local stones—orange and blue Pennant and cream Bath—permitted a more truly structural polychromy than usual and one of remarkable tonal harmony and elegance. All Saints’ was begun in 1863.

Both Burges and Pearson erected distinguished churches at this time, Burges in Ireland, Pearson in London. St Finbar’s Church of Ireland Cathedral in Cork, designed in 1863 for a competition and built in 1865-76, is of unusual size for a British church of this period and, what is more unusual for a nineteenth-century cathedral, it was completed without serious modification of the original project. Provided with a fine open site and a full complement of towers, two flanking the west front and a taller one over the crossing, this rivals in elaboration the big Continental Gothic churches of the period (see