The Sunday school was an art form. Its classical age has been explored by T. W. Laqueur and its totality by P. B. Cliff. Like those of great art, its creative moments were the simultaneous issue of evolution, system, and individual genius. Those moments were intensest in their Nonconformist aspect, for Nonconformists, though often thwarted, were born educationists. Their buildings reflected this: theological colleges, for instance, which grew from overgrown houses to imitations of Oxford, and eventually to Oxford itself; or proprietory schools, strait-jacketed between the financial constraints and social aspirations of an enlarged middle class trying to reconcile Manchester’s values with those of Thomas Arnold. And there were the Sunday schools themselves, complexes of hall, parlour, and classroom, enfolding the chapel, reflecting the activity, mentality, and spirituality of a particular society, encompassing therefore a concept of the Church, and designed with considerable ingenuity to meet the needs of a rounded yet carefully graduated community. By the turn of the twentieth century they housed daily activities for all ages. Their influence reached far. Fuelled by the Word proclaimed from the pulpit, and empowered by the decisions of representative meetings taken in hall or vestry, the Sunday school broke chapel bounds to teach more people than could be met with in chapel pews.