But Upjohn’s reputation, rightly or wrongly, is based on his Gothic churches. Externally these are usually quite close to contemporary Camdenian models; internally they are often distinguished by very original—and also very awkward—wooden arcades rising up to the open wooden roofs above. St Mary’s, Burlington, NJ., of 1846-54 is perhaps the most attractive and English-looking of his village churches, the modest cruciform plan culminating in a very simple but delicate spire over the crossing. Not least significant, moreover, are Upjohn’s still more modest wooden churches[128] of vertical board-and-batten construction, such as St Paul’s in Brunswick, Maine, of 1845. They illustrate, like his openwork wooden arcades, a real interest in expressing the stick character of American carpentry. This interest is intellectually similar to, but visually very different from, Pugin’s devotion to the direct expression of masonry construction. At building churches in stone British immigrants like Notman and Frank Wills (1827-?)[129] were not surprisingly Upjohn’s rivals in the quality of their craftsmanship. Running parallel with Upjohn’s career is that of Davis, but with the difference that he built few churches and, as Ithiel Town’s former partner, continued on occasion, even after the latter’s retirement in 1835, to provide Grecian as well as Gothic designs. He was perhaps most successful, however, with Italian Villas such as the Munn house in Utica, N.Y., or the E. C. Litchfield house in Prospect Park, Brooklyn, N.Y., both of 1854. At Belmead, in Powhatan County, Virginia, built in 1845, he introduced Manorial Gothic to the southern plantation, but this mode never rivalled the Grecian peripteral temple in popularity in the South. Walnut Wood, the Harral house in Bridgeport, Conn., of 1846, was more typical and long retained all its original furnishings. With the building of Ericstan, the John J. Herrick house in Tarrytown, N.Y., in 1855 Davis brought the fake castle to the Hudson River valley—so frequently compared to that of the Rhine and favourite subject in these years of a new American school of landscape painters of the most Picturesque order. As a scenic embellishment Ericstan was not unlike the ruins that Thomas Cole introduced in his most Romantic and imaginary landscapes. Despite Davis’s ranging activity, extending westward into Kentucky and Michigan, elaborate Gothic houses, whether Castellated or manorially Tudor, were relatively rare in the America of the forties and fifties. But a type of gabled cottage with a front veranda and elaborate traceried barge-boards was rather popular. This is well represented by the extant Henry Delamater house in Rhinebeck, N.Y., and also by that of William J. Rotch of 1845 in New Bedford, Mass., both by Davis himself. The mode was energetically supported by Davis’s great friend, the landscape gardener and architectural critic A. J. Downing (1815-52).