Butterfield’s St Alban’s in Baldwin’s Gardens off Holborn in London, erected 1858-61, is all rebuilt now. But something of its splendidly tall proportions, if not the rich brick and tile marquetry of the wall over the chancel arch, can still be apprehended. The contrast in quality with Peacock’s work was once amazing. Street’s St James the Less in Thorndike Street off the Vauxhall Bridge Road in London also of 1858-61, is less fine but still much superior to Peacock’s work (Plate 94B). The tall square tower, set apart like a campanile, has a curiously gawky roof based on French models and the interior is somewhat cavernous. But in the richness of its red and black brick patterns, used both inside and out, and in the naturalistic carving of the nave capitals this church of Street’s rivals Butterfield’s All Saints’ and St Alban’s and is, unlike the latter, still completely intact. Various younger men of Webb’s generation were beginning to make important contributions in church design also. G. F. Bodley (1827-1907), trained in his kinsman Scott’s office rather than in Street’s, built St Michael’s, Brighton, in 1859-62. This must have been very striking for the boldness of its scale and for the vigour of its structural expression before it was overshadowed by the tall later nave beside it added by William Burges (1827-81).[224] But it is not the parody of ‘Early French’ detailing in the square archivolts and spreading capitals of the nave arcade, so soon to be abjured by Bodley, that is significant here but the fact that this was the first church to receive an over-all decorative treatment, including stained glass, at the hands of Morris and his associates, who included the painters Ford Madox Brown and Edward Burne-Jones. There is still finer glass of this period designed by Burne-Jones in the east window of Waltham Abbey in Essex, where the rear wall was rebuilt in the heaviest ‘Early French’ taste by Burges in 1860-1. As a painter Burne-Jones is hardly to be compared with Ingres; yet as a designer of stained glass the superiority of such early windows of his as these at Waltham Abbey to the ones by Ingres at Dreux and at Neuilly is amazing. It is not the least claim to distinction of the High Victorian Gothic that it nurtured this brilliant revival of decorative art led by Morris. Many churches of the sixties and seventies are worth visiting solely for their windows by Morris, Brown, and Burne-Jones to which there are apparently no worthy Continental parallels.