In a Surrey house of the same date, 1873, like Trevor Hall unhappily demolished, Webb moved rather farther in a similar direction. Joldwynds near Dorking was quite as symmetrical as Trevor Hall but even less Gothic. The vocabulary of tile-hanging on the upper storeys, with weather-boarding in the gables, was as authentically regional as that of Shaw’s nearby houses, but the vaguely eighteenth-century vernacular of the detailing was much simpler than Shaw’s repertory of moulded and cut brickwork at Lowther Lodge. Nesfield, in designing what is now Barclays Bank in the Market Square of Saffron Walden in Essex, remained more eclectic, staying closer to the manorial mode of Cloverley Hall yet using again various Japanese motifs in the rich decoration. This was built in 1874. Godwin, who had just moved to London with the actress Ellen Terry and was now largely occupied with designing stage sets, developed further in the rooms of their rented house in Taviton Street in 1873-4 the Anglo-Japanese mode of his interiors of ten years earlier in Bristol. In 1874 he also arranged an exhibition of paintings in a similar spirit for his friend the painter Whistler at the new Grosvenor Galleries.[268] In the mid seventies, however, it was Shaw, not Nesfield or Godwin, who occupied the centre of the architectural stage. In the Convent of the Sisters of Bethany of 1874 in St Clements Road at Boscombe near Bournemouth he disguised his use of concrete, then a relatively new building material, with his familiar Sussex vernacular. He did the same in a slightly later series of designs for cottages made of patented prefabricated concrete slabs.[269] It is worth noting, moreover, that the internal iron skeleton above the bold cantilever on the front of his Old Swan House (Plate 103) of 1876 at 17 Chelsea Embankment in London provides in effect an example of what would later be called ‘skyscraper construction’, since it carries completely the weight of the brickwork of the upper walls; this was a decade before the ‘invention’ of this sort of construction in Chicago (see Chapter 14). Shaw’s interest in technical developments and his enthusiasm for new materials and methods was evidently very great, always provided that he could bend them to his particular sort of retroactive pictorial vision. When he built the Jury House for the Paris Exhibition of 1878 of patent cement bricks, for example, he designed the façade very elegantly in his Late Stuart manner just as if it were of cut and moulded clay bricks. Godwin and Whistler, however, were showing at this same exhibition an Anglo-Japanese room of highly original character in association with Watt the furniture manufacturer.