As in the United States, there is plenty of more-or-less Gothic domestic work in Canada, most of it relatively late. An early and rather pretentious secular edifice was the so-called Old Building of Trinity College, Toronto, erected in 1851 by Kivas Tully (1820-1905). This was a by no means incompetent example of Collegiate Gothic, but more like Wilkins’s or Rickman’s work of the twenties at Cambridge than the advanced Camdenian edifices of its own period. Canadian Neo-Gothic rose to a certain autochthonous distinction only in the next period (see Chapter 10). If early illustrations of the Picturesque point of view and of the mature Gothic Revival are on the whole of minor interest in the English-speaking world outside Great Britain, that whole world from California to Tasmania was absorbing the propaganda of the English exponents of the Picturesque and the Gothic Revival. This had its effect in the succeeding period when the High Victorian Gothic of England was exploited to more considerable purpose than the Neo-Gothic of the Early Victorian period. By the time a great English critic came to the support of the Gothic Revival, John Ruskin (1819-1900), he had almost from the original publication of his _Seven Lamps of Architecture_ in 1849 more readers beyond the seas than at home.[137] Neither the Picturesque nor the Gothic Revival has the same importance on the Continent of Europe as in English-speaking countries. The Picturesque point of view was carried abroad by the great British artistic invention of the eighteenth century, the English garden—_jardin anglais_, _englischer Garten_, _giardino inglese_, _jardin inglès_, etc., to muster the various well-established and revelatory foreign terms for the more or less naturalistic mode that succeeded the architecturally ordered French gardens of the Le Nôtre type. By 1800 the Picturesque was as familiar in theory as were the international tenets of Romantic Classicism. But for all the garden fabricks that were built in Europe in the English taste, the point of view tended to remain alien. Moreover, from the continuance of Orléans Cathedral[138] in Gothic, ordered as early as 1707 by Louis XIV though not finally finished until 1829, to Schinkel’s painted Gothic visions of the opening of the nineteenth century, there is no lack of evidence of Continental interest in Gothic forms. In France there was also a very considerable theoretical interest in Gothic methods of construction that can hardly be matched in eighteenth-century England (see Introduction). But there followed in the early decades of the nineteenth century no such effective crystallization of an earlier dilettante interest in the Gothic as in England, no popular fad for building fake castles, no flood of cheap Commissioners’ Churches.