In some ways Pugin’s ideas are closely parallel to those of the most rationalistic Romantic Classical theorists in France; doubtless they could be traced back, through his father, to French eighteenth-century sources (see Introduction). However, Pugin’s primary motivation was devotional and sacramental. Approaching all matters of building with passion, he could not but reject the frivolous emphasis on visual qualities that had always been characteristic of the Picturesque point of view. The mature Gothic Revival that began with Pugin, essentially an English manifestation despite its presumptive French background and carried eventually wherever English culture extended—as far as the West Coast of the United States and to the remotest Antipodes—grew out of the Picturesque yet is itself basically anti-Picturesque. One must build in a certain way because it is right to do so, not because the results are agreeable to the eye. The Gothic Revival thus came to be, for about a decade, as absolute as the most doctrinaire sort of Grecian Classicism. When the Anglicans of the Established Church just after 1840 took over and began to apply rigidly the principles of the Catholic Pugin, a new church-architecture came into being. This is quite as characteristic of the nineteenth century as is Romantic Classicism, even though the mode was—nominally at least—entirely dependent on English medieval Gothic of the fourteenth century. Within a decade, however, Puginian Gothic, after being accepted and codified by the Cambridge Camden Society,[123] developed into a much more original mode, the High Victorian Gothic, very remote indeed from the models which Pugin had recommended as providing the only proper precedents for the Revival (see Chapter 10). Here it will be well to consider two exceptional Gothic monuments, designed in the late thirties and built in the forties, one very large, the other rather small, which did _not_ follow the new Puginian standards, even though in the case of one of them Pugin collaborated on the design from the first. The most Picturesque addition to the Romantic Classical scene in Edinburgh, curiously effective by contrast with the big-scaled and very cold Grecian structures near by, is the Sir Walter Scott Monument in Prince’s Street Gardens (Plate 51). This was designed in 1836 and executed in 1840-6 by G. Meikle Kemp[124] (1795-1844). His project had originally been placed below both Fowler’s and Rickman’s in a competition; as the local contender, however, he had eventually obtained the commission in 1838. The lacy elaboration of this florid shrine, if less appropriate to Sir Walter’s own brand of medievalism than Abbotsford, is certainly in the richest Late Georgian tradition of the Picturesque.