Bodley now made even more use of the decorative talents of Morris and his associates than at St Michael’s, Brighton. His St Martin’s-on-the-Cliff, Scarborough, completed in 1863, is a finer church than either St Michael’s or All Saints’. Falling between them in style as well as in date, this has less historical importance, but it also was richly decorated by the Morris firm. At All Saints’ painted polychromy, but of a rather subtle order much superior to most of that of the forties, entirely replaced permanent polychrome. The brocade patterns stencilled on the walls seem almost to be designs of Pugin strengthened in their outlines and their colours by Morris. Although Bodley’s mature career as one of the two principal Late Victorian church architects did not really get under way until 1870, Victorian Gothic was evidently coming full circle at All Saints’, and the High Victorian phase was nearly over. The other important new church of this period, St Saviour’s, Penn Street, in the Hoxton district of the East End of London, was begun in 1865 by James Brooks (1825-1901). Unfortunately this was very badly damaged in the blitz, and has since been demolished. St Saviour’s was of brick and included some polychromy like Brooks’s slightly earlier East End church, St Michael’s in Mark Street, Shoreditch, of 1863-5. But what was really significant at St Saviour’s was the unified interior space, ending like Clutton’s Leamington church and Pearson’s Vauxhall church in London in a rounded apse (Plate 89B). Notable also were the Webb-like quietness of the general composition and the straightforward handling of the main structural elements. In another, happily unblitzed, church by Brooks in the East End of London, St Chad’s, Nichols Square, in Haggerston, which was begun in 1867, the same qualities can be seen in a more mature state. Moreover, the rather plain windows and the simple moulded brick trim are echoed at domestic scale on the nearby rectory. The fine vessel of the interior of St Chad’s, with its simple nave arcade of stone, clean red-brick walls, quietly structural wooden roof over the nave, and brick-vaulted chancel, contrasts strikingly with the hectic elaboration and dramatically vertical proportions of Butterfield’s last London church of any great interest, St Augustine’s, Queen’s Gate, of 1865-71. Two churches of the late sixties outside London, All Saints’ at Babbacombe near Torquay, which was built in 1868-74, and the earlier mentioned St Augustine’s at Penarth, begun in 1866, are much more satisfactory examples of Butterfield’s middle period.