In Italy projects of restoration led, as elsewhere, to the designing of certain fairly ambitious new façades in Gothic to complete medieval churches. The most conspicuous is that of the cathedral of Florence. After many abortive earlier moves, this was finally begun by Emilio de Fabris (1808-83) in 1866, when Florence became briefly the capital of Italy, and completed only in 1887. The earlier and less successful façade of Santa Croce in Florence had been carried out in 1857-63 by Niccoló Matas (1798-1872). It is characteristic of the international architectural scene in these decades that neither of these carefully archaeological compositions in polychrome Italian Gothic comes alive in the way that Italianate High Victorian Gothic often did in the hands of English architects, or even American ones, in the fifties and sixties. Churches were built for Anglicans in most of the principal cities of Europe in the mid nineteenth century, usually by English architects and always in Victorian Gothic. Sometimes, as in the case of the Crimean Memorial Church by Street[256] at Istanbul and Shaw’s English Church at Lyons, these were by the most distinguished English designers of the day, but more often they were by hacks who lived abroad and specialized in such work. Among the ‘English churches’ of this period that provided good samples of the High Victorian Gothic for foreigners—many were still to all intents and purposes Early Victorian—are two by Street[257] in Rome, one for the English community, the other not ‘English’ at all in fact but built for American Episcopalians. The former, All Saints’, in the Via del Babuino, with a much later tower not by Street, provides internally a moderately successful example of his later work, although it is unimpressive and largely invisible externally. It was begun in 1880, a year before Street’s death, and opened in 1885. Far finer is St Paul’s, the American church, prominently located among the contemporary banks and blocks of flats of the Via Nazionale and built in 1873-6. Boldly banded in brick and stone and with a tall square campanile at the front corner, this is indeed a richer and more striking example of an Italian Gothic basilica than the Middle Ages ever produced in Rome (Plate 100). The interior, with a rich apse mosaic by Burne-Jones on a glittering gold ground, has an originality and a coherence that is quite lacking in such Italian churches as were redecorated in the later nineteenth century. Late though this is in Street’s _œuvre_, it remains one of his best works.