Greenway’s Government House Stables of 1817-19 in Sydney, Australia, were already Castellated, but in a modest eighteenth-century way. M. W. Lewis’s Camden church of 1840-9 was based on plans sent out by Blore and simply executed in red brick. In W. W. Wardell (1823-99), who emigrated as late as 1858, Australia finally obtained an experienced Neo-Gothic architect of real ability. He had already made his mark in England a decade before his departure with Our Lady of Victories, Clapham, in London; but even that very decent early church of his required no specific mention in the English section of this chapter. His Australian work is too late to be considered here (see Chapter 11). Across the Atlantic, communications were doubtless quicker than with the Antipodes, and the cultural climate of Canada was undoubtedly more similar to that of the homeland. The first important Neo-Gothic work in Canada, however, was built for the French and not the British community. Notre Dame, the Catholic Cathedral of Montreal, was originally designed and erected by an Irish architect, James O’Donnell (1774-1830), in 1824-9 somewhat to the disgust of most French Canadians, who considered O’Donnell’s Gothic to be Anglican when in fact it was merely Georgian. Equipped later with western towers and redecorated internally with operatic sumptuousness in the seventies, it is not easy to realize just what Notre Dame was like when O’Donnell completed it. It was bigger, certainly, but not more advanced than the New England churches of a few years later. In 1845 Wills arrived in Canada from England and began the Anglican Cathedral at Fredericton, New Brunswick, as a moderate-sized cruciform parish-church with central tower, the whole of rather run-of-the-mill Camdenian character despite its pretensions. Very similar, but considerably larger and richer, is the Montreal cathedral which he began a decade later in 1856. His American churches, though smaller and less elaborate, have somewhat more character. Canadians must have sensed Wills’s inadequacy almost at once, for both Butterfield and G. G. Scott were asked to send out church designs in the forties. The former provided in 1848 a scheme for a more elaborate east end for Wills’s Fredericton Cathedral, which had been started only three years before. Scott’s Cathedral in St John’s, Newfoundland, initiated in 1846, deserves a relatively important place in the roster of his churches as Butterfield’s New Brunswick work does not. But this large edifice was completed only some forty years later by his son (G. G. II, 1839-97). Even the stone used here was imported from Scotland.