Potter and Wight were both young men. Established Gothic Revivalists in America did not swing over as rapidly as in England from the Early Victorian to the High. Upjohn, Potter’s master, was no Butterfield; Renwick when designing St Patrick’s Cathedral in New York in 1859 followed contemporary Continental rather than English models, as has been noted, presumably because his clients were Catholics. At best the sort of High Church Anglican patronage which sponsored Butterfield’s and Street’s innovations in England was relatively much less important in the United States—or Canada and Australia, for that matter. Enthusiasm for the High Victorian Gothic, although widespread in the later sixties and early seventies, was rarely exclusive as is evidenced by the disparate interests and activities of the members of the prominent and successful firm of Ware & Van Brunt. It has already been noted that when William Robert Ware founded in 1865 the first American architectural school at the Massachusetts Institute of Technology in Boston, he based its instruction on that of the Paris École des Beaux-Arts.[238] His partner Henry Van Brunt (1832-1903) was one of the first to follow Richardson’s lead away from the High Victorian Gothic in the seventies. So little were either of them dyed-in-the-wool Gothicists in these decades.[239] However, Ware & Van Brunt designed and built in Cambridge, Mass., one of the largest and most conspicuous of mature High Victorian Gothic edifices in America, Memorial Hall[240] at Harvard College, first projected in the late sixties and erected in 1870-8. This somewhat cathedral-like edifice has walls of red brick liberally lashed with black and a massive central tower now denuded by fire of its high roof (Plate 95A). The manner is more than a little Butterfieldian, but the quality is not even up to G. G. Scott. Before Memorial Hall was designed, a competition held in 1865 for the First Church (Unitarian) in Boston in the new Back Bay residential district had brought out a variety of rather feeble attempts by Boston architects to follow the High Victorian Gothic line. The winning design of Ware & Van Brunt, executed in 1865-7, while not of the wilder Low Church order of Teulon’s or Keeling’s London work of these years, is hardly comparable to Street’s or Butterfield’s, much less to the contemporary production of younger architects such as Brooks, Bodley, or Shaw. Its best feature is the material, the richly mottled and textured local Puddingstone from nearby Roxbury.