The most important church architecture of the movement was that of William Bidlake, culminating in his St Agatha's, Sparkbrook of 1899, whose inventive but restrained design had a national influence, maintaining the close relationship between function and decoration that was important to the Gothic revival, while moving away from the straightforwardly historicist imitation of medieval precedent. The most comprehensive expression of the Arts and Crafts spirit within Birmingham however was the suburb of Bournville, which was developed from 1894 by George Cadbury as a model village for workers from his nearby factory, and was largely designed by the architect William Alexander Harvey, a pupil of Bidlake appointed at the young age of 22. Harvey designed over 500 houses in Bournville between 1895 and 1904 – simple but exceptionally varied cottages built in pairs in brick, timber and stone – and a few public buildings clustered around a central village green. Bournville was most influential in its urban planning, however, where its layout of cottages set in substantial gardens, on roads lined with fruit trees, moved beyond the 19th century model of the company village towards the garden cities of the early 20th century. The Arts and Crafts Movement marked a golden age of Birmingham architecture, placing the city at the forefront of English architecture at a time when English architecture was leading the world. Its influence was international: Lethaby was the most important architectural theorist of the whole movement, and built over half of his work in Birmingham or for Birmingham clients, while the buildings of Birmingham architects such as William Bidlake and William Alexander Harvey were to feature prominently in Herman Muthesius's 1905 book The English House, which was to be revolutionary in its introduction of the Arts and Crafts philosophy into Germany, and a pivotal influence on the later birth of the modern movement. Edwardian and inter-war architecture The late-Victorian era of red brick and terracotta gave way to coloured glazed terracotta – faïence: examples being the Trocadero in Temple Street, completed around 1902, and the Piccadilly Arcade, completed in 1909 as a cinema, on New Street. Glazed brick was also used with examples including Moor Street station (1909–1914). Terracotta still remained in use, for example, in the Methodist Central Hall (1903-4) on Corporation Street. Classical architecture made a return as a preferred choice of architecture during the 1920s and 1930s as well as Art Deco, which was