The architecture of the building is most commonly categorised as Gothic Revival, the
predominant architectural style at the time, and it is still considered by many to be the finest
example of this type of architecture in Britain today. Others see inspiration from John Ruskin’s
‘Stones of Venice’, signifying a polychromatic Italian Gothic style, whilst a further argument
states that the building’s features have been taken from a variety of different periods and
countries suggesting a different style completely. Allegedly, Scott supported this train of
thought and anticipated a completely new genre emerging as a result. Despite some criticism
about his design Scott was adamant that it “performed loyally and willingly to the habits of the
age”.
What is clearly apparent though is how Scott was influenced by the use of brick which he had
witnessed first-hand on his European travels and which at this time, in England, was being
widely produced and being transported to all parts of the country by rail. It comes as no
surprise then that all of the stone and brickwork used throughout the building came from the
Midlands – the hotel thus acting as the grandest advertisement for the Midlands’ materials.
In 1875 The Builder commented that “Railway termini and hotels are to the 19th century what
monasteries and cathedrals were to the 13th century; they are the only truly representative
buildings we possess”. These were astute words indeed as the combination of St Pancras station
and the hotel are surely our nation’s strongest symbols of Victorian pride, true proclamations of
the power of our steam age. The public mirrored this sentiment, exclaiming: “St George for
England and St Pancras for Scotland” when the full majesty of the building was revealed (access
to Scotland from the station had recently been secured)