Just after 1870, while Kinmel was still in construction, the main line of development moved from the country into London. The Education Act of 1870 required the building of innumerable new schools, particularly by the London School Board. Among the architects successful in the first competitions that were held for designs for these schools were E. R. Robson (1835-1917) and J. J. Stevenson (1831-1908); they used a non-Gothic vocabulary in London stock bricks trimmed with red bricks cut or moulded along seventeenth-century vernacular lines.[267] This mode was not unrelated to the more definitely Queen Anne models provided by the Kew lodge and by Kinmel, but the new London schools were more irregular in composition and naturally much more cheaply built. Robson, appointed architect to the London School Board in 1871, soon made this mode the official one for schools in London County and this, of course, before long influenced Board School design nationally. In 1871 Stevenson, like Shaw a Scot out to make a London reputation, built a new house for himself in what is now Bayswater Road. This he named the Red House, like Morris’s at Bexley Heath of a decade earlier, in order to call attention to the fact that its brickwork was not covered with stucco but exposed like that of the Thackeray and Howard houses in Palace Green. In fact, however, it was built like the Board Schools of brownish stock bricks with red-brick detail elaborately moulded, gauged, and cut in the Late Stuart way. Although Stevenson’s house had little of the real elegance of Kinmel or the natural ease of Shaw’s manors, its novelty and its fairly conspicuous location would have attracted attention in any case. But Stevenson, a very accomplished publicist, saw the advantage of proclaiming for this hybrid mode a name, ‘Queen Anne’, which was evidently no less applicable to Nesfield’s Kew lodge and Kinmel or even to his friend Robson’s schools. Thus was a revival formally launched. Two new buildings in London by Shaw, begun in 1872 and in 1873, were definitely in the new mode. Only at this point, indeed, does the term Queen Anne begin to make any sense as applied to Shaw’s work. Despite the valid claim to priority that Stevenson made for his Red House in a paper read in 1874 at the Architects’ Conference ‘On the recent reaction of taste in architecture’ in which he claimed the Queen Anne mode was a ‘Re-Renaissance’ (_sic_), and his own relative success from this time on as a fashionable London house-architect, the Queen Anne became Shaw’s from the moment that he first turned his hand to it in 1872. Whether the original idea came to him from Devey or from Nesfield—he had probably worked himself on the drawings for the Kew lodge—or was merely an attempt to outbid a rival Scotsman on the London scene makes no real difference.