St Mary and St Nicholas’s, Wilton, built by T. H. Wyatt (1807-80) and David Brandon (1813-97) in 1840-6 for Sydney Herbert and his Russian mother, might almost have risen in the Prussia or the Baden of this period. However, this Italian Romanesque basilica, with tall, detached campanile and rich internal polychromy of Cosmati-work brought from Italy, is rather more archaeological than Persius’s or Hübsch’s churches in Germany. On the other hand, the so much more original Christ Church of 1840-2 in Streatham, south of London, by J. W. Wild (1814-92) is so similar to Prussian work that some knowledge on Wild’s part of Schinkel’s suburban-church projects of a decade earlier might almost be assumed (Plate 36). Although the exposed yellow brickwork and the touches of external brick polychromy are notably premonitory of the next period, the splendid obelisk-like campanile and the crisp ranges of clerestory windows, for all their pointed tops, are quite as much within the range of Romantic Classicism as the German churches that this recalls. The handling of the galleries of the interior had local precedent in Soane’s churches of the twenties as well as in Schinkel’s of the thirties. Although the barrel vaults are presumably only of plaster, St Jude’s, Bethnal Green, in London, built by Henry Clutton (1819-93) in 1844-6, has an impressive cruciform interior. The exterior here is notably Germanic with two thin towers flanking the great polygonal apse. But these three churches, for all their individual excellence, are exceptional in England. They are related to the broad contemporary current of the Renaissance Revival that Barry had set under way only in rejecting Grecian sanctions even more completely than he. Barry was himself too versatile ever quite to repeat the strict _palazzo_ formula of the Reform Club, although he almost came to that in the British Embassy in Istanbul of 1845-7. For this he provided sketches as early as 1842 and later emended the plans of the local executant architect, W. J. Smith. This structure, carrying the Renaissance Revival to, or even beyond, one edge of the western world as Grandjean de Montigny did to Rio de Janeiro at the other edge, is considerably larger than the Reform Club and rather bleak, though splendidly sited and very dignified indeed. At Bridgewater House in London of 1847-57, however, Barry enriched the _palazzo_ paradigm quite considerably, not only by the introduction of a good deal of carved work but also by breaking the continuity of the garden front towards the Park in order to emphasize the end bays. This personal compositional device is even more conspicuous on the river front of his Gothic Houses of Parliament.