For Trinity College in Hartford, Conn., Burges prepared in 1873 a splendid plan worthy of its fine new site on a high ridge south of the city (Plate 88). Unfortunately only one side of one quadrangle was finished according to his designs; but that is perhaps the most satisfactory of all his works, and the best example anywhere of Victorian Gothic collegiate architecture. The brownstone from nearby Portland, Conn., favourite material all over the eastern states during what Lewis Mumford has called the ‘Brown Decades’, is especially well suited to Burges’s heavy and well-articulated detail. The rough quarry-facing of the random ashlar contrasts tonally with the more smoothly cut trim in a fashion that is polytonal if not polychromatic. The roughness of the stone walls also enhances the massive proportions of the long dormitory range and of the paired towers with their boldly pyramidal roofs. Yet for the classrooms this masonry is articulated into banks of large mullioned windows. Despite the general regularity and even symmetry of the composition, there is plenty of functionally logical variety in the handling of the different sections. Burges was happy in the Scottish-born Hartford architect who supervised the work, G. W. Keller (1842-1935); and Keller revealed his continued debt to Burges in the construction of a Memorial Arch in the park in Hartford which is one of the very few examples of such a Classical monument completely translated into Gothic terms, and not without real interest. Burges undoubtedly enjoyed more what he did for the Marquess of Bute, beginning in 1865, in restoring Cardiff Castle and Castell Coch in Wales. ‘Restoring’ should be put in quotation marks, for by the time Burges got through with them both were almost as much fake castles as any built in the first half of the century. They lie somewhere between Fonthill Abbey and Peckforton in intention and are considerably more sumptuous internally than either. Although Cardiff Castle, which had been subjected to drastic Georgian remodelling, was gradually re-castellated with considerable consistency, the work there never reached completion. It is chiefly the incredibly rich interiors that are of interest, even if the interest is of a rather theatrical order. Castell Coch near Llandaff, restored in 1875, interiors of equal fantasy, almost comparable to those of Neuschwanstein; that is, they are more like settings for Wagnerian opera than anything the Middle Ages actually created. But the quality of the imagination and of the execution is of a very much higher order than Ludwig II commanded. Externally Castell Coch is a sober and plausible restoration-reconstruction of a smallish castle, chiefly of archaeological interest, but most romantically sited and solidly built. Beside its integrity the more famous restorations by Viollet-le-Duc at Pierrefonds and Carcassonne appear rather harsh, and obviously modern.