Both the Victorian Gothic of this period and the Second Empire mode were ‘high’ phases of style. Perhaps for that reason neither of them controlled, in the way that Romantic Classicism had done in the earlier decades of the century, all or even any very extensive segments of building activity; yet between them they gave colour to a very considerable proportion of it. The obvious stigmata of one or of the other, or even of both—external polychromy and high mansard roofs, respectively—are to be found on such modest things as mills and working-class housing blocks as well as on major public monuments. The High Victorian Gothic first developed in Anglican ecclesiastical architecture and always carried with it a rather churchy flavour—sometimes quite ludicrously, as in the case of Gothic distilleries, Gothic public-houses, and Gothic sewage plants. Continental Neo-Gothic was more largely confined to churches, especially in France. The international Second Empire mode found its inspiration in the grandiose extension of a palace in Paris; something of the Parisian and even the palatial clung to it when it was used—as often in the non-French world—for such things as factories and modest suburban villas. Both the Victorian Gothic and the Second Empire had definite national homes, yet both were also full of elements of Italian origin. In that respect the High Victorian phase of the fifties and sixties was somewhat analogous to the Germanic _Rundbogenstil_, as well as being the direct heir of the earlier and more puristic Gothic Revival of the forties in England. Often the Second Empire mode was even more Italianate, since it was in the main but a pompous modulation of the earlier Renaissance Revival. The one had its roots in the Picturesque, but it differed from earlier Picturesque manifestations in being a ‘style’—or very nearly such—not merely the reflection of a point of view. The other had roots not only in Romantic Classicism but also farther back in the High Renaissance and the Baroque; some qualities of those earlier styles were both continued and revived. But neither High Victorian Gothic nor Second Empire were ‘revivals’ in the sense of those of the first half of the century; they lived with a vigorous nineteenth-century life of their own, not one borrowed from the past. In both cases one may more properly say that they _had_ revived.