are regarded as one of Mountfort's most important works. From the exterior, the building appears austere, as was much of Mountfort's early work: a central tower dominates two flanking gabled wings in the Gothic revival style. However the interior was a riot of colour and medievalism as perceived through Victorian eyes; it included stained glass windows, and a large double-faced clock, thought to be one of only five around the globe. The chamber is decorated in a rich, almost Ruskinesque style, with carvings by a local sculptor William Brassington. Included in the carvings are representations of indigenous New Zealand species. Gothic architecture The Gothic revival style of architecture began to gain in popularity from the late 18th century as a romantic backlash against the more classical and formal styles which had predominated the previous two centuries. At the age of 16, Mountfort acquired two books written by the Gothic revivalist Augustus Pugin: The True Principles of Christian or Pointed Architecture and An Apology for the Revival of Christian Architecture. From this time onwards, Mountfort was a disciple of Pugin's strong Anglo-Catholic architectural values. These values were further cemented in 1846, at the age of 21, Mountfort became a pupil of Richard Cromwell Carpenter. Carpenter was, like Mountfort, a devout Anglo-Catholic and subscribed to the theories of Tractarianism, and thus to the Oxford and Cambridge Movements. These conservative theological movements taught that true spirituality and concentration in prayer was influenced by the physical surroundings, and that the medieval church had been more spiritual than that of the early 19th century. As a result of this theology, medieval architecture was declared to be of greater spiritual value than the classical Palladian-based styles of the 18th and early 19th centuries. Augustus Pugin even pronounced that medieval architecture was the only form suitable for a church and that Palladianism was almost heretical. Such theory was not confined to architects, and continued well into the 20th century. This school of thought led intellectuals such as the English poet Ezra Pound to prefer Romanesque buildings to Baroque on the grounds that the latter represented an abandonment of the world of intellectual clarity and light for a set of values based on the notion of hell and the increasing dominance of society by bankers, a breed to be despised. Whatever the philosophy behind the Gothic revival, in London the 19th-century rulers of the British Empire felt that