Shaw’s excellent church of this period at Bournemouth, St Michael’s and All Angels, Poole Hill, begun in 1873, is Late Victorian in the crispness and clarity of its design but less archaeological than those of this date by Bodley. It seems to indicate that he could have made a great reputation as a church builder had he not been absorbed with secular work. But by the seventies secular work once again provided the field of major prestige in England, as it had hardly done since 1840, and so Shaw concentrated on it. Having revolutionized country-house design, he now turned, more definitely than at Lowther Lodge—by its size and open siting more a country house set in the city—to urban and suburban domestic work. In these his conquest was even more complete, at least in England and, as regards the suburbs, in America. The Old Swan House and its neighbour Cheyne House at the outer end of the Chelsea Embankment, respectively of 1876 and 1875, are both mansions rather than ordinary terrace houses. They also represent a considerably further advance along the road towards a formal eighteenth-century revival than Lowther Lodge. Old Swan House is completely symmetrical, and the upper storeys are also quite regularly fenestrated in the early eighteenth-century way (Plate 103). However, the total effect is still highly Picturesque because of the way these upper storeys are cantilevered forward; from the cantilever depend, moreover, elaborate oriels of much earlier character very similar to those Shaw had introduced at New Zealand Chambers. Such oriels he long continued to employ; they are not only a principal feature of his own house in Hampstead, built in this same year, but also of the much later Holl and Long houses. Cheyne House occupies an irregular curving plot with the entrance in Royal Hospital Road; but Shaw used all his considerable ingenuity to give it symmetrical façades, even though the plan actually has little of the orderliness of that of Lowther Lodge.