It would be inappropriate in this chapter to carry the story of Victorian Gothic much further. Scott and Street died in 1878 and 1881 respectively, though Butterfield and Bodley outlived Pearson. Butterfield seems to have frozen for life in the mode of his early maturity, and as a result produced ever feebler work after the mid sixties; Pearson was able to maintain a leading position with a younger generation grown chaster and more archaeological in its standards without forsaking his pursuit of those more abstractly architectonic values which give distinction to his earlier work. It was above all Bodley, however, with his Late Decorated verging on Perpendicular, who set the pace in Anglican church-architecture from this time forward. His personal style, still tentative at All Saints, Cambridge, in the mid sixties, was mature by the time he built St Augustine’s at Pendlebury in Lancashire in 1870-4. Crisp and almost mechanical in its detailing, this tall rectangular mass, buttressed by an internal arcade, is impressive both inside and out (Plate 92B), yet it wholly abjures most of the qualities that had for two decades given special vitality to English Neo-Gothic. With various modulations what might, rather ambiguously, be called ‘Bodleian Gothic’ remained the favourite of Anglicans in and out of England well into the twentieth century. The continuing admiration for the work of Sir Ninian Comper (1864-1960) in certain milieus suggests that it has not even yet been finally superseded; but much of Comper’s large-scale work dates from before Bodley’s death in 1907. For example, his principal London church, St Cyprian’s in Glentworth Street, was built in 1903. This crisp and clean example of revived Late Gothic, with its elegant gilt font-cover and screen, may wind up this account more appropriately than the vast unfinished cathedral at Liverpool begun by Sir Giles Gilbert Scott (1880-1960), a grandson of the first G. G. Scott, in 1903. But neither is Victorian Gothic; both are rather manifestations of one aspect of twentieth-century ‘traditionalism’ (see Chapter 24). ------------------------------------------------------------------------ CHAPTER 11 LATER NEO-GOTHIC OUTSIDE ENGLAND