It was not in the Unity Church, but in Richardson’s second church, Grace Episcopal, in Medford, Mass., happily still extant, of 1867-8, that one recognizes strong personal expression. The more massively pyramidal character of the asymmetrical composition and, above all, the great boulders of which the walls are built, with heavy trim of rough quarry-faced granite, announce an original approach (Plate 91B). Yet this approach was evidently still nurtured on the English High Victorian Gothic models that Richardson knew through the wood engravings in imported periodicals. It is even specific enough here so that one can describe this Medford church as Burgessy rather than Butterfieldian or Street-like; it is certainly no longer Keelingesque like the church in Springfield. Incidentally, when Richardson visited England in 1882 it was the work of Burges, who had just died, that he went out of his way to see—by that time, however, he found it rather disappointing. If Richardson’s first churches were Gothic, his Western Railway Office at Springfield, built in 1867 for a client associated with the Unity Church commission, was generically Second Empire. Yet this was still more directly derived from current English work that was closely related to that mode, notably the Francis Brothers’ National Discount Building of 1857 in the City of London, than from anything Parisian. His brick and stone Dorsheimer[241] house of 1868 in Delaware Avenue in Buffalo, N.Y., is also Second Empire rather than Victorian Gothic, but very restrainedly so, and hence rather more French in effect. Other work by Richardson dating from the late sixties, such as the B. H. Crowninshield house in Marlborough Street in Boston of 1868-9, was more experimental in design, often recalling wild English work of the early years of the decade. Although built of wood and of very modest size, Richardson’s most interesting house of this period was the one that he built for himself in 1868 at Arrochar on Staten Island near New York.[242] This combines the use of a high mansarded pavilion with a sort of imitation half-timbering related to the contemporary American ‘Stick Style’ (see Chapter 14).