Neo-Grec.—By the year 185o, more enlightened theories were in the ascendant ; it was realized that neither academic Roman nor Greek entirely suited civic art. Fresh inspiration came from the Neo-Grec revival which was being pursued in France, under the leadership of Louis Duc, and Labrouste, and in Germany under Schinkel. As a style neo-grec found a worthy exponent in Prof. Cockerell, whose researches in Greece and Italy fitted him to combine acaderr is knowledge with respect for the works of Wren and the whole gamut of the English classical tradition. Cockerell's buildings include the Taylor Institution, Oxford, the Sun Fire Office, London, branches of the Bank of England at Liverpool, Manchester, Bristol and Plymouth, and the remodel ling of Soane's attic storey to the Bank of England in Thread needle street.
Italianate.—Another section of the classic school entered upon an Italianate phase. For example Sir Charles Barry favoured astylar façades. His designs for the Travellers club, the Reform club and Bridgewater house, London, were thought to be admirably suited to their several purposes. Other exponents of the Italian school were Sir James Pennethorne, Philip Hard wick and Sir Gilbert Scott. This coterie designed, respectively, the Geological museum, London, the Great Hall at Euston sta tion, London, and the Government offices, Whitehall, London, comprising the home, colonial, foreign and India offices. Another Italianate building, Dorchester house, London, designed by Lewis Vulliamy, as frankly a copy of the Villa Farnesina, Rome; much of the interior decoration was contributed by Alfred Stevens.
The Gothic Revival.—The beginnings of revived Gothic can be traced to the 18th century. The founding of the Society of Antiquaries, the monthly periodical magazines and the curious taste of Horace Walpole at Strawberry Hill prepared the way for Fenthill and the remodelling of Windsor castle. In the late 18th century many cathedrals and churches became the subject of churchwarden repair. From 1800 onwards the subject of
mediaeval art forms the background of fashionable novels ; Jane Austen touches upon Gothic art in Northanger Abbey, and later Sir Walter Scott, Goethe and Victor Hugo made the subject popular. The mediaeval movement also found support at the hands of the Church. As a result, by the middle of the i9th century, there ensued a phase of church restoration and building based upon an analytical study of authentic examples of Gothic Architecture.
The subject of Gothic art also claimed exponents among the acknowledged leaders of the classic school. For example, Pro fessor Cockerell designed Lampeter college, and Sir Charles Barry, beginning with Birmingham grammar school (1833) gave Gothic verticality to the classic plan of the palace at Westminster. In this design Barry was assisted by Augustus Pugin whose extra ordinary knowledge of Gothic detail was unrivalled. Indeed, Pugin, who held almost fanatical views on the subject of what he termed the "Christian" style, was the moving spirit in the Gothic revival. His own work included 65 churches in the United King dom. His chief work is St. Georges cathedral, Southwark. Philip Hardwick, whose fame rests upon the classic hall at Euston sta tion, was responsible for the eminently successful hall and library at Lincolns Inn. Both Sir Charles Barry and Philip Hardwick favoured a modern version of Tudor Gothic ; other revivalist architects at the time concentrated upon Early English or Decorated Gothic (see GOTHIC ARCHITECTURE). The work of Sir Gilbert Scott covers the period 1846-77; he built St. Giles, Camberwell; St. Mary Abbotts, Kensington; St Mary's cathe dral, Edinburgh ; St. Pancras station, London ; Glasgow university and many other large buildings. He was concerned with the restoration of many old churches, and has been censured for the design of the Albert memorial. William Butterfield and W. Bur gess gave their attention to colour, and sought to modernize the Gothic spirit. Burgess designed his own dwelling, Tower House, Melbury road, Kensington; and he left innumerable designs for furniture. In the career of G. E. Street is evidenced the ultimate phase of the revivalist movement; the Royal Courts of Justice, London, 1874-82, rank as the last attempt to apply Gothic to a great public building; Street was conversant with Continental Gothic, and although he was cramped by an awk ward site in Fleet street, and suffered interference from the lawyers, he overcame many difficulties. The work of John Lough borough Pearson is exemplified in the following London churches : St. John, Red Lion Square; St. Augustine, Kilburn; and the Catholic Apostolic church, Maida Hill; in addition to extensive repairs at Westminster abbey, Pearson designed Truro cathedral, a building which suffers from diminutive scale but whose details are faultless.