Nesfield’s partner Shaw, however, built in the sixties two churches that were still High Victorian in style, one in Yorkshire, the other at Lyons in France. Holy Trinity at Bingley of 1866-7 is one of the finest examples of the ‘Early French’ phase of the Victorian Gothic (Plate 94A). Externally it builds up to a very tall central tower, superbly proportioned and very simply detailed, that more than rivals in quality Street’s at Oxford. Internally the fine random-ashlar stonework—there is no polychromy—the very bold and structural detailing of the square archivolts and the simply carved capitals illustrate even better than does Webb’s domestic work in brick the new and more sophisticated attitude towards the building crafts. The principles involved go back to Pugin; but now for the first time in Webb’s and Nesfield’s and Shaw’s work of the sixties one senses a real respect, at once intelligent and intuitive, for the differing nature of different materials. Such a respect would continue to give special virtue to the work of the most distinguished English and American architects of the late nineteenth and early twentieth centuries (see Chapters 12, 13, 15, and 19). The Lyons church, which Shaw began in 1868, is perhaps the finest of the many Victorian churches built on the Continent for local English colonies, but very different indeed from that at Bingley. A city church set between tall blocks of flats, this is also very tall in its proportions and has a more urban character than that of the Yorkshire church. French freestone does not lend itself to the particular type of semi-rustic craftsmanship that was now rising to favour with the younger English architects; hence the Lyons church is less significant than the Bingley one in that respect. But Shaw was not primarily a church architect, nor did he long remain a High Victorian (see Chapter 12). More characteristic of the various new directions that the Victorian Gothic was taking in the mid sixties, directions that soon also led quite away from the High Victorian, are two new churches both designed well before Shaw’s at Bingley and Lyons were begun. At All Saints’ in Jesus Lane, Cambridge, begun in 1863, the spikiness of the Italianizing Victorian Gothic and the rugged structuralism of the ‘Early French’—rarely carried farther than in Bodley’s own early work—gave way to something much more English in inspiration. There is, for example, a very deep chancel and only one aisle, not to speak of a battlemented tower at one side, out of which rises a small stone spire. In fact, Bodley returned here to the fourteenth-century Decorated models preferred by Pugin, some so ‘late’ as to suggest the still forbidden Perpendicular.