One of the great pleasures of recent gothic revival scholarship is that its personalities have begun to emerge. For some reason both Georgian and arts-and-crafts architects are introduced as human beings: that’s always been part of their story. But once Pugin is gone, the greater part of the nineteenth century has typically been presented in harsh terms of alternating styles and unbending moral principles rather than of very human designers conjuring up fresh ideas with astonishing knowledge and discipline.Bodley was a prolific Anglican high-church architect, schooled like so many in the office of George Gilbert Scott, but different from his peers in that he sailed straight in there from a relatively comfortable background rather than fighting his way up via unsympathetic provincial