Generally preferable to the ecclesiastical Gothic of this decade is the collegiate work; of this more exists both at Oxford and at Cambridge than is generally realized. At King’s College, Cambridge, Wilkins’s Gothic screen fronting the quadrangle and the hall range at right angles to it are not altogether unworthy of the magnificent Perpendicular chapel and Gibbs’s Fellows Building that form the other two sides. Wilkins won the competition for this work in 1823, and it was all completed by 1827. Still more appealing, because an effectively independent entity, is Rickman’s New Court at St John’s College, also at Cambridge,[121] built by him with the aid of his pupil Henry Hutchinson (1800-31) in 1825-31 (Plate 50B). This is not very plausibly Gothic perhaps, but the papery planes of the light-coloured ashlar walls of the U-shaped quadrangle, now richly hung with creeper, form an eligibly Picturesque composition above and behind the open gallery across the south side despite their total symmetry. By the thirties standards of Gothic design were generally rising, both in the greater degree of plausibility attained by the leading practitioners and in their more positive command of various borrowed idioms. Thus Barry’s King Edward’s Grammar School in Birmingham, designed in 1833 and built 1834-7, seems to have been a rather satisfactory Neo-Tudor design, notably Barryesque in the breadth of the composition and in the use of strong terminal features. This building was unusually literate in detail owing to the assistance of the younger Pugin, who was just about to make a tremendous personal reputation as a Gothic expert thanks to his books.[122] Pugin’s _Contrasts_, published 1836, marks a turning point even more than does the acceptance in that year of Barry’s Gothic design for the Houses of Parliament. Newly converted to Catholicism, Pugin believed the building of Gothic churches to be a religious necessity. His programme of Gothic Revival was far more stringent than any existing programme of Greek Revival or, _a fortiori_, of Renaissance Revival. If the Gothic were really to be revived, Pugin saw that its basic principles must be understood and accepted. Merely to copy Gothic forms was as futile, and to him as immoral, as merely to copy Grecian or _cinquecento_ ones. The methods of building of the Middle Ages must be revived; architecture must again derive its character, in what he considered to have been the true medieval way, from the direct expression of structure; and at the same time it must serve the complicated ritual-functional needs of revived medieval church practices.