IN England and America there followed immediately upon the ‘High Styles’ of the fifties and sixties phases of stylistic development that cannot readily be matched in the other countries of the western world. This is true both of the quality of the achievement and also of its significance for what came after. Beginning just before 1870 in England and but little later in the United States, these two phases developed in far from identical ways. In both cases their conventional names, ‘Queen Anne’ and ‘Romanesque Revival’, are misnomers. It was a long time before the Queen Anne of the seventies actually became a revival of early eighteenth-century architecture in the same sense as the Greek, Gothic, or Renaissance Revivals. The supposed Romanesque Revival in America of this period was not very archaeological either. It is therefore less inaccurate to label these modes by the names of their principal protagonists: ‘Shavian’ for Richard Norman Shaw (even though that proper adjective refers more familiarly to George Bernard Shaw) and ‘Richardsonian’ for Henry Hobson Richardson. Shaw, however, shares responsibility for the effectiveness of the mutation away from the High Victorian with other men, notably his early partner Nesfield, Webb, Godwin, and J. J. Stevenson.[261] Of all this group, Shaw was unquestionably the most successful, the most typical, and the most influential, though not the most original. Except for Pugin, no architect since Robert Adam had so much effect on English—and for that matter also on American—production. Moreover, his influence lasted for some thirty-five years, rather longer than did Adam’s. Yet it is not possible to define the Shavian mode clearly as it is the Adamesque or the Puginian. An architectural Picasso, Shaw had many divergent manners which he developed successively, but of which none—except the High Victorian Gothic—was ever entirely dropped. Each of these manners, down to the very end of his long practice, found in turn a following. His latest and most conspicuous work, the Piccadilly Hotel, built in London in 1905-8 between Piccadilly and the Regent Street Quadrant (Plate 107), is more characteristic of the Edwardian Age of the opening twentieth century than his early church at Bingley is of the High Victorian. Outside church architecture the intervening Late Victorian can hardly be defined better than in terms of his various manners, and even in church architecture he had a real contribution to make, if a lesser reputation than Pearson or Bodley.