The Boston & Albany Railroad station in Worcester built by Ware & Van Brunt in 1875-7, with its tall and striking tower and its vast segmental-pointed arches at the ends of the shed, provides one of the happiest illustrations of what the rather illiterate approach of even the most highly trained Eastern architects of this period could produce. By working in an almost primitive way, along lines suggested by the half-understood work of the bolder English innovators, something was often achieved of which few Continental architects were capable in this period. In less sophisticated hands, whether of provincial architects or of builders, the results were naturally still cruder, though sometimes equally vital and fresh. In church design,[245] where ecclesiological control of planning was not accepted outside the Episcopal denomination, galleried auditorium schemes with rows of exposed iron columns were often executed with a violence of polychromy and a gawkiness of notched detailing that exceeded Teulon or Keeling at their most extreme. One of the most prominent extant examples is the squarish New Old South Church at Copley Square in the Back Bay district of Boston, built in 1874-5 by Charles A. Cummings (1833-1905) and his partner Sears in 1875-7. Its impressive tower resembling an Italian campanile has now been much reduced in height and chastened in silhouette. Even more extreme than most churches, but of the highest quality, is the intensely personal work of Frank Furness (1839-1912)[246] in Philadelphia. His building for the Pennsylvania Academy of Fine Arts in Broad Street was erected in 1872-6 in preparation for the Centennial Exhibition. The exterior has a largeness of scale and a vigour in the detailing that would be notable anywhere, and the galleries are top-lit with exceptional efficiency. Still more original and impressive were his banks, even though they lay quite off the main line of development of commercial architecture in this period (see Chapter 14). The most extraordinary of these, and Furness’s masterpiece, was the Provident Institution in Walnut Street, built as late as 1879 (Plate 95B). This was most unfortunately demolished in the Philadelphia urban renewal campaign several years ago, but the gigantic and forceful scale of the granite membering alone should have justified its respectful preservation. The interior,[247] entirely lined with patterned tiles, was of rather later character than the façade and eventually much cluttered with later intrusions, but it was equally fine in its own way originally. Later work by Furness is of less interest, and his big Broad Street Station of 1892-4 has also been demolished. No small part of Furness’s historical significance lies in the fact that the young Louis Sullivan picked this office—then known as Furness & Hewitt—to work in for a short period after he left Ware’s school in Boston. As Sullivan’s _Autobiography of an Idea_ testifies, the vitality and originality of