This is not so much the case with Barry’s first and only important essay in the ‘Jacobethan’ mode—or the Anglo-Italian as he preferred to call it—the remodelling of Highclere Castle in Hampshire, proposed as early as 1837 and carried out over the next two decades (Plate 37A). Despite the Picturesque effect of its towered and bristling silhouette, this great country house rigidly maintains the quadrangular plan of the Reform Club and is almost as regular as that in composition, and even more coldly crisp in its detailing. Much the same can be said of Mentmore House in Buckinghamshire, built by Sir Joseph Paxton (1803-65) in 1852-4 in a very similar vein but more directly derived from Smithson’s Elizabethan Wollaton Hall near Nottingham. In general, however, the extremely popular Jacobethan Revival of these years, even more than the contemporary revival of the _style François I_ in France, represents a reaction not merely against the Greek Revival, as does the _palazzo_ mode, but against the basic disciplines of Romantic Classicism and was one of the major stylistic vehicles of the later Picturesque. On the other hand, the utilization of pre-Gothic medieval forms in England in this period, so closely similar in its result to the Romanesquoid aspect of the _Rundbogenstil_, seems to have been only partly Picturesque in intention. From the twenties on a very considerable number of churches, mostly small, had Norman Romanesque detail, but usually there was little or no attempt to break away from the hall-like tradition of the Late Georgian church in their plans. However, three rather large churches that are early medieval in inspiration but not Norman in detail deserve particular mention, for they are among the finest, though not the most historically significant, built in Britain in the early forties.