Not all of Pugin’s own work is as remote in character from the Houses of Parliament as his mature principles would lead one to expect. His first church of any consequence, St Marie’s, Derby, of 1838-9, is Perpendicular in style and very crisp and flat in treatment. Nevertheless, both in its detailed ‘correctness’ and in Pugin’s real command of the national Late Gothic idiom, this church marks a great advance over the work of Rickman and the other Gothic architects of the older generation who were still in practice. Scarisbrick Hall in Lancashire, a remodelling, is confused by the retention of earlier elements and also by a considerable addition made by Pugin’s son (Edward Welby, 1834-75) in the sixties. But the portions carried out in 1837-52 are quite consonant with Pugin’s work done in association with Barry. The great hall is a definitely archaeological feature of the plan yet also a feature that would be of great significance in the later development of the nineteenth-century house (see Chapter 15). If Scarisbrick is not exactly _anti_-Picturesque, comparison with such a great house as Harlaxton near Grantham, first designed by Salvin in the Jacobethan mode in 1831 and rising under Burn’s supervision from 1838 on, reveals how little the Picturesque really influenced Pugin even at the beginning of his career. However, Neo-Tudor Lonsdale Square in London, begun by R. C. Carpenter (1812-55) in 1838, is still less Picturesque than Scarisbrick because of its extreme regularity. This example makes evident how far other young architects—and Carpenter was precisely Pugin’s contemporary—were behind him in understanding and exploiting even Late Gothic forms; yet within a very few years Carpenter became the most ‘correct’ of Anglican church architects by following Pugin’s lead. In 1839 and 1840 Pugin designed two modest churches that provided favourite paradigms for Anglo-American church-building for a generation and more. St Oswald’s, Old Swan, Liverpool, built in 1840-2, adopts the fourteenth-century English parish-church plan with central western tower broach-spired, aisles, deep chancel, and south porch, each element being quite clearly expressed in the external composition. Internally the effect is low and dark, since Pugin provided no clerestory, roofed the nave with much exposed timber, and filled the traceried windows with stained glass. More original is St Wilfred’s, Hulme, Manchester, built in 1839-42, in that the tower—never completed, alas—was set at the north-west corner. The detail of St Oswald’s is fairly elaborate, including a rather rich east window. St Wilfred’s is simpler, with lancet windows to avoid the expense of fourteenth-century tracery.