Scott, Carpenter, and Butterfield all supplied designs for churches in various parts of the British Empire; other English architects emigrated to the Dominions and to the United States, carrying with them the doctrine of the Gothic Revival, just as French architects half a century earlier had carried a rather different sort of doctrine all over the western world. As a symbol of Britain’s major world position, moreover, English churches now rose in many Continental cities, from German watering-places and French Riviera towns to remote capitals such as Athens and Istanbul. Remarkably alien in their foreign contexts, these express the vigour and the assurance, if rarely the real creative possibilities, of the Victorian Gothic. The Established Church in England was the great patron of the revived Gothic, although other denominations were not far behind. But the use of Gothic was by no means confined to churches, nor indeed to country houses as it had largely been in the late eighteenth century. No other Gothic public buildings rivalled the Houses of Parliament; but in 1843-5 Philip Hardwick, designer of the most Grecian of railway stations, with his son (P. C., 1822-92) built the Hall and Library of Lincoln’s Inn in London of Tudor red brick with black brick diaperings and cream stone trim. This offered a foretaste of the external polychromy which would be the sign-manual of the next period of revived Gothic in England. An earlier, more severe, sort of Tudor, carried out in stone, served Moffatt, Scott’s former partner, for a mansion at No. 19 Park Lane. But this house was most exceptional; in the forties London architects and builders generally eschewed Gothic of any sort except for churches. Generically medieval, if not specifically Gothic, inspiration would eventually play a major part in forming the advanced commercial mode of the late fifties and sixties however (see Chapter 15). The success that Victorian Gothic, initiated by a Romanist and supported by the Catholicizing wing of the Church of England, had with non-Anglicans in England and throughout the English-speaking world is surprising. Ritualistic planning, almost the essence of the Revival to Pugin and his Camdenian followers, was naturally avoided; but the Gothic work of the best Nonconformist architects, such as the Independent Church of 1852 in Glasgow by J. T. Emmett, is by no means unworthy of comparison with Scott’s, if not the more puristic Carpenter’s. Samuel Hemming of Bristol even employed a few touches of Gothic detail on the prefabricated cast-iron churches that he exported all over the world from Bristol in the early fifties.