ROMANTIC MOVEMENT FROM  1760 TO THE PRESENT £>AY
him, notably Sir George Gilbert Scott, Perpendicular was anathema.
Gothic had now to be of the 13 th and early I4th century to be right,
and Scott and his colleagues never minded replacing a genuine
Perpendicular window by an imitation earlier one when they had
to restore a church. Their archaeological knowledge sharpened and
on the whole their imitations grew in sensitivity as the century pro-
gressed. The change from Perpendicular to Early English belongs
to the thirties. In the last quarter of the century Bodley's and espe-
cially Pearson's work (St. Augustine's, Kilburn, London ; St. John's,
Red Lion Square, London; Cathedral, Truro) are the most refined.
Whenit comes to originality, however, these accomplished revivalists
were far surpassed by such characters as William Butterfield and James
Brooks. Butterfield's detail is original to the extreme of harshness
and demonstrative ugliness (All Saints', Margaret Street, London;
St. Alban's, Holborn, London), and Brooks's plans occasionally
abandon all dependence on English Gothic precedent.
No other country took so whole-heartedly to the Gothic Revival
in all its tendencies and shades as England. France kept away from
it for a long time and has only a few Neo-Gothic churches of the
first order (and Gau, the architect of Ste. Clotilde, was born at
Cologne). In Germany the change from Schinkers sometimes
romantic and sometimes free functional treatment of Gothic form
to the archaeological phase is connected with the effort to complete
Cologne Cathedral, after the original plan had been found in 1841.
Since then good Gothic churches and later on public buildings
appeared from Hamburg to Vienna.
In the opposite camp of the Southerners the grand style of the
Italian High Renaissance palazzi replaced the chastity of the Neo-
Greek. The first European Neo-Renaissance palace is Klenze's
Beauharnais Palace, in Munich, of 1816. Munich after that produced
a number of excellent examples in the thirties (National Library
by Gartner, 1831). So did Dresden, thanks to Gottfried Semper
(Opera, 1837). In London the style makes its appearance with Sir
Charles Barry's Travellers' and Reform Clubs (1829 and 1837).
What helped to popularise the Renaissance style must have been its
plasticity as against the flatness of Neo-Classical and the thinness of
Neo-Perpendicular form. Also .it represented a more substantial
prosperity, and this, as is well known, was the ideal of the leading
classes during the Victorian age (pi. en).
Then, already shortly after 1831, France rediscovered her native
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