James Fergusson, in his “History of the Modern Styles of Architecture,” says of Walpole’s structures:  “We now know that these are very indifferent specimens of the true Gothic art, and are at a loss to understand how either their author or his contemporaries could ever fancy that these very queer carvings were actual reproductions of the details of York Minster, or other equally celebrated buildings, from which they were supposed to have been copied.”  Fergusson adds that the fashion set by Walpole soon found many followers both in church and house architecture, “and it is surprising what a number of castles were built which had nothing castellated about them except a nicked parapet and an occasional window in the form of a cross.”  That school of bastard Gothic illustrated by the buildings of Batty Langley, and other early restorers of the style, bears an analogy with the imitations of old English poetry in the last century.  There was the same prematurity in both, the same defective knowledge, crudity, uncertainty, incorrectness, feebleness of invention, mixture of ancient and modern manners.  It was not until the time of Pugin[8] that the details of the medieval building art were well enough understood to enable the architect to work in the spirit of that art, yet not as a servile copyist, but with freedom and originality.  Meanwhile, one service that Walpole and his followers did, by reviving public interest in Gothic, was to arrest the process of dilapidation and save the crumbling remains of many a half-ruinous abbey, castle, or baronial hall.  Thus, “when about a hundred years since, Rhyddlan Castle, in North Wales, fell into the possession of Dr. Shipley, Dean of St. Asaph, the massive walls had been prescriptively used as stone quarries, to which any neighboring occupier who wanted building materials might resort; and they are honey-combed all round as high as a pick-ax could reach."[9] “Walpole,” writes Leslie Stephen, “is almost the first modern Englishman who found out that our old cathedrals were really beautiful.  He discovered that a most charming toy might be made of medievalism.  Strawberry Hill, with all its gimcracks, its pasteboard battlements and stained-paper carvings, was the lineal ancestor of the new law-courts.  The restorers of churches, the manufacturers of stained glass, the modern decorators and architects of all varieties, the Ritualists and the High Church party, should think of him with kindness. . .  That he was quite conscious of the necessity for more serious study, appears in his letters; in one of which, e.g., he proposes a systematic history of Gothic architecture such as has since been often executed."[10] Mr. Stephen adds that Walpole’s friend Gray “shared his Gothic tastes, with greatly superior knowledge.”