By 1870 church architecture, for example, was in general much chastened. Externally Teulon’s St Stephen’s, The Green, on Rosslyn Hill in Hampstead of 1869-76 is not polychromatic but all of purple-brown brick with some creamy stone trim. It builds up, moreover, somewhat like Shaw’s Bingley church begun a few years earlier, to a tall rectangular crossing tower with rather quiet, more or less ‘Early French’, membering. Inside Teulon achieved in the brickwork a kind of golden harmony of tone resembling that of White’s interior in St Saviour’s, Aberdeen Park, completely eschewing the bold and almost savage patterns of contrastingly coloured bricks he had favoured since the early fifties. In the tremendously tall interior of Edmund Scott’s already mentioned St Bartholomew’s, Brighton—aisleless, chancel-less, and provided with broad, flat internal buttresses—the traces of brick polychromy are hardly noticeable on the walls of a space so grandly proportioned (Plate 93B). The later ciborium here is not by Scott. Burges in the two Yorkshire churches which he began in 1871 at Skelton and at Studley Royal, both near Ripon, the latter with a very fine rectory near by, still aimed at a rather satiating luxury of both coloured and sculptural decoration in the interiors. But Pearson at St Augustine’s, Kilburn Park Road, in London, initiated at this time a new line of vast plain churches (Plate 93A). That line would culminate in the archaeological correctness of his Truro Cathedral in Cornwall, started in 1880 and finally completed by his son (F. L., 1864-1947) in the present century. His last work, the cathedral of Brisbane, Australia, designed shortly before his death in 1897, was only begun by his son in 1901. As Pearson’s Kilburn church was built in 1870-80, it should perhaps more properly be considered Late Victorian than High. But Pearson retained here and to the end of his life, particularly in his tall towers and spires, a truly High Victorian love of grand and bold effects. However archaeological he became, and with his passion for rib-vaulting he could from this time on be rather more archaeological in a Franco-English way than Viollet-le-Duc in France or Cuijpers in Holland, his spaces are usually nobly proportioned and his masses crisply composed no matter how ‘correctly’ they are membered. At Truro, where the cathedral rises suddenly out of narrow streets, its granite still almost unweathered, Pearson’s handling of the relationship of the three tall towers carries vigorous plastic conviction; Burges had attempted the same effect at Cork with rather less success when the High Victorian was still at its highest. Brisbane Cathedral is plainer and tougher than Truro despite its very late date.