The international Second Empire mode has so far found no historian or even a sympathetic critic. Perhaps no other mode so widespread in its acceptance and so prolific in its production has ever received so little attention from posterity. Yet beside it the contemporary stream of the Victorian Gothic mode, which has been recurrently studied, must seem more than a little parochial and also excessively dependent on the individual capacities—not to say the caprices—of its leading practitioners. Within the areas in which the Victorian Gothic was employed, however, an area effectively confined to the Anglo-Saxon world geographically and to certain kinds of buildings typologically, it was capable of major architectural achievement. Moreover, thanks to the line of spiritual descent from the leaders of the generation of architects active in the third quarter of the century to those of the next, the more creative aspects of the architecture of the turn of the century derive in not inconsiderable part from the later Victorian Gothic. The Lefuels and Hansens, or such men as Brodrick, Poelaert, and Gilman, trained no worthy pupils. But the disciples of the Victorian Gothic leaders not only include such very able young men who actually worked in their offices as Webb and Shaw and Voysey but also, in some sense at least, so great an American architect as Richardson, whose formal training had been wholly Parisian (see Chapters 11, 12, and 13). The advance of domestic architecture in the second half of the nineteenth century and, to a somewhat lesser extent, also that of commercial architecture therefore owed a great deal to the Victorian Gothic, at least in England and America (see Chapters 14 and 15). ------------------------------------------------------------------------ CHAPTER 10 HIGH VICTORIAN GOTHIC IN ENGLAND BY 1850 Neo-Gothic was accepted as a proper mode for churches throughout the western world. Only in England, however, had it become dominant for such use. Moreover, Gothic was a more than acceptable alternative there to Greek or Renaissance or Jacobethan design for many other sorts of buildings also. Only in the urban fields of commercial construction and of terrace-housing was its employment still very rare. On the Continent the nearest equivalent in popularity and ubiquity to the Victorian Gothic was the German _Rundbogenstil_. Neo-Gothic, although used more and more everywhere after 1850 for churches, attracted few architectural talents of a high order (see Chapter 11).