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http://www.jstor.org 'Pugin in his home'

A memoir byJ. H. Powell

editedby ALEXANDRA WEDGWOOD

INTRODUCTION

In this touching and perceptive memoir written late in his life, John Hardman Powell calls himself Pugin's pupil. He was in fact the only person who had the right to call himself that. Pugin never set up an office in the usual manner of busy mid-nineteenth- century architects. He preferred to work with a small number of close colleagues who understood his aims and could interpret his drawings. George Myers, his builder who worked from London, andJohn Hardman, the Birmingham metalwork manufacturer, were the principal two members of this group, and the other two were John Gregory Crace, the interior decorator, also London based, and Herbert Minton, the Staffordshire pottery manufacturer. Of these John Hardman was undoubtedly the closest friend. The circumstances of the decision to sendJohn Hardman Powell to live in Ramsgate were the death of Pugin's second wife, Louisa, on 22 August 1844 which was quickly followed in early September by Charles Barry's invitation to Pugin to help with the fittings and decoration of the House of Lords. Pugin was therefore put under immense pressure of work at a time of great emotional strain. It seems that John Hardman suggested that his young nephew come to help at this critical time. John Hardman Powell was the son of William Powell, who was John Hardman's brother-in-law and partner. His mother supervised a textile department which was set up by Hardman & Co. in I842 to deal with the ever increasing commissions for vestments and other furnishings arising from Pugin's work. Before coming to Pugin he seems to have worked briefly with the Birmingham firm of Elkington & Co. with whom for a time John Hardman and his father had been in partnership. Powell probably arrived shortly before Christmas 1844. In a letter post-marked 3 December, Pugin asks Hardman (HLRO No. 80) for 'a common iron bedstead full size' to be sent at once 'as I shall want it before John Powell comes'. The seventeen- year-old boy, who was always treated as one of the family, was home-sick for a while, and Pugin was also unsettled by the new situation. Writing at the beginning ofJanuary 1845, Pugin told Hardman (HLRO No. 72) 'When you write toJohn Powell give him a hint not to correspondso much. He writes long letters like a girl about nothing, without business & at his age he should not waste time in writing without cause, just hint it. All his work is to acquire knowledge . . . I am very strict with him & keep to the exact thing. He has not the first ideas of principles, he has always worked from eye. He does not even(?) know the ordinary rules. He will do well if he sticks to it but stop that cursed writing for it is like Miss Keats & irritates me dreadfully. I could make a fine fellow of I72 ARCHITECTURAL HISTORY 31: I988 him in time but you have no idea how much injury Elkington's style has done him. He is continually running wild in his drawing & losing sight of principles. This is my great difficulty but I can manage him I think. He is a very good soul'. There were other difficulties too: 'You should have told me and prepared me of John Powell's being a somnambulist. I had no idea of such a dreadful thing in practice. I live in constant alarm. The other night he knocked his head dreadfully in fighting in his room. He is out of bed every night' (HLRO No. 4). But he seems to have settled down quickly, and by Easter Sunday Pugin comments to Hardman: 'Powell makes an admirable sacristan' (HLRO No. 68). As well as making himself useful in the chapel Powell quickly adapted to Pugin's style. In a letter to Hardman post-marked 10 October 1845, Pugin reported:'I am very much pleased withJ. Powell. He has done some capital things since I have been away. He is sending you the 4 evangelists for the processional cross of which you will of course prepare dies. He is doing the 4 doctors for the reverse' (HLRO No. 66). Pugin used him extensively to make models for the metalwork to be made for the House of Lords. Perhaps it was partly as a result of his confidence in Powell's work that Pugin persuaded Hardman to expand into the production of stained glass, with the first windows being made in Birmingham at the end of November 1845. Pugin kept the production of the cartoons closely under his eye, as Powell describes below in his section 'Cartoon Room'. Powell remained at Ramsgate until Pugin's death except for the first half of I848. He therefore saw Pugin through several emotional uneasy years. Though Pugin worked constantly at an incredible pace, the nature of his work changed during this period. He received fewer architectural commissions and became more exclusively occupied with his great number of designs for the decorative arts. Pugin had, of course, always been a controversial figure but towards the end of his life he suffered much criticism from Catholic writers, especially as the Catholic Church, partly following Newman's leadership, looked to Italian influences. Powell married Anne, Pugin's eldest daughter, on 21 October i850. They lived in a house nearby in Ramsgate and here their first child was born. Following Pugin's death in September 1852, Powell became chief designer to the firm ofJohn Hardman & Co, and he moved to Birmingham where he was based for the rest of his life. Pugin's widow and the rest of his family also left the Grange and lived in Birmingham between 1853 and 1860, when Jane and E. W. Pugin re-established the family home. Cuthbert remained at the Grange in Ramsgate until his death in 1928. The house has been let a number of times, but now belongs to the Benedictine Abbey which was built opposite in I860. In I988 it is being used by the Abbey and though without any of its original contents or decoration, has been little altered and is in good condition. Powell's style, both in metalwork and in stained glass, is firmly founded on that of Pugin. Many of Pugin's metalwork designs remained in production throughout the nineteenth century. Powell softened Pugin's strong medieval forms and developed a more linear and realistic approach. In stained glass he also turned away from Pugin's simple primary colours and used many more shades. Very little work has been done on his career although a mass of archive material in the shape of designs, cartoons, letters, daybooks and ledgers survives at Birmingham Reference Library and City Museum. 'PUGIN IN HIS HOME' 173 Powell's purpose in writing this memoir is not entirely clear. He calls it a 'rudehasty portrait .... which would never have been made, had not the memory of Pugin's work become dim in a quarterof a century'. It is not obvious if he intended to have it published, or if he was writing for circulationonly within the family. Certainlyhe does not explain people and places in full, nor does he attempt to give a full account of Pugin's life and work. He is not completely accuratewith his dates, but what he does do superblyis to paint a vivid portraitof the man he knew intimately, understoodfully and admired passionately. It is undoubtedly the best first-hand account we have. We see Pugin playing with his children, making the sounds of the wind, Pugin at work, in a good mood, singing Gregorianhymns and bits from operas, Pugin the orderly genius putting all his papersaway at night, Pugin in his old clothes having fun with his friends or running down to the harbourto watch the ships. Powell has obviously put a great deal of thought into his writing and tries to explain his ideas, as no doubt Pugin had once explained them to him. Powell's own judgment appears very sound and he manages to examine all the dramas and controversies of Pugin's life in a refreshingly calm and rationalmanner. He certainlyexplains the devotion which Pugin inspired. As well as his hero, Powell himself appearsas a delightful character. The text of his memoir is known in three copies: a manuscriptin the Westminster Diocesan Archives (MS SEC 2I/4:9), which once belonged to SebastianPugin Powell, J. H. Powell's son; a second manuscriptstill in family hands, and a typewritten copy, apparentlytaken from the second manuscript,in the Libraryof the Victoriaand Albert Museum (L. 2897-1963). On comparing them, it became obvious that the copy in the WestminsterDiocesan Archive provided the most authenticversion, and this is the one used here. It is a copy from Powell's originaltext, the numbersof the pages of which are markedin the margin, to which Powell has made furtheradditions in his own hand. It seems probable that he never finished his revisions of the text. As far as possible the original spelling has been followed, and the punctuation has only been occasionally alteredin the interests of clarity. Referencesare to microfilmnumbers in HLRO. The lettersare in BirminghamCity Museum.

Pugin in his Home

A memory offering to lay on the Tomb of his Master Augustus Welby N. Pugin whose example was noble and every word instruction by his gratefulPupil John HardmanPowell

12 I74 ARCHITECTURAL HISTORY 31: 1988

Sept. 14th I889 the anniversary of his death

The words in [inverted commas]1 are Pugin's own, as near as memory will serve2

St. Augustines3 Forty seven years ago4 a youth of I 5, with his teeth chattering after an outside Coach ride in an east wind, from Ashford, knocked at the strong oak door of St. Augustine's. On giving his name there was much whispering of maids, then an interval of a few minutes, when a powerful baritone voice called out "Is that you Powell?'. Yes Sir, was followed by the shooting back of bolts, taking down of a massive bar, and candle in hand, was seen the strongly built form of Pugin, dressed in pilot cloth, his handsome features sparkling with good humour. "Glad you came on, but thought you would have had enough of it before reaching Canterbury! You will find lots of fires, and bread and cheese in the house; Compline at 8, supper at 9, bed at Io. Teddy will show you your room in the Tower. I must go back to my work". Teddy5 was a bright nine year-old miniature of his Father, the same rolling sailor's walk, quick perception and energy, putting a dozen questions whilst we climbed to the Tower Room. This Tower Room was the space left at top of the staircasethat filled the lower part of the square Tower. There were two seat-cilled windows; one looking out on the endless processions of ships in the Gull stream, the other on Pegwell Bay, Deal and Sandwich, and at the glass of which birds would flutter familiarly, before the fire died out at night. Overhead from a battlemented lead-flat around the Flag-pole, was a fine view of the Harbour, St. Lawrence, the South Foreland and in far distance up the winding Stour the Towers of Canterbury Cathedral. Here a Channel thunderstorm could be enjoyed in its grandeur. At eight the Chapel bell rang for Compline, which was solemnly recited by Pugin in Cassock and Surplice, followed by the De Profundis, but too rapidly for a stranger to respond to readily. At nine supper in the brightest of Kitchens; the eldest daughter Anne,6 an elegant maiden, was present and Miss Greaves7 a family friend, who had kindly taken care of the children after their Mother's death. Rice pudding, Bread and Cheese, Celery and Water, was the simple fare, Pugin with Times in hand commenting on the News of the day. In the morning, bell at eight for Prayers;Pater, Ave, Credo, Litany, short and quick, "no time for distractions". The Chapel though small, was complete for Mass, with Organ in Sacristy, ambries of Vestments and Church plate, amongst them, two very fine ancient Chasuble Crosses, one of the story of St. Thomas a Becket, the other a Crucifixion; relics of Saints hung against the walls, the windows were filled with Stained Glass, St. George, St. Augustine, St. Edmund, St. Cuthburt (sic), with the Family kneeling beneath, holding petitions.8 Though simple, everything was of the best, Oak, Cedar, Encaustic tiles, and a small stove always burning in cold weather: "most people pray better when warm". 'PUGIN IN HIS HOME' I75

The rest of the Family appeared at Breakfast; Agnes,9 an energetic little girl of eight, Cuthbert a boy of six,10 (the terror of his sisters from keeping his aquariums in his pocket), Kate"1a bonny girl of three, and Pollie12 not yet able to walk. They were handsome like their parents, and brown and hardy from blowing about in gales; a Governess, a Nurse and two maids completed the household. In the Hall was a large figure of the Blessed Virgin niched in oak with folding doors, and a rack of favourite Telescopes, Souwester, and Tarpaulins; a tesselated floor, and a most cunningly designed staircase-railthat formed a fence round the corridor above. 13The peeps into the differently coloured bedrooms, with their mullioned windows, quaintly carved fireplaces and furniture, all hung with old paintings, choice impressions of etchings and engravings, Durer being prominent, was a treat for Artists. The Dining Room had an arched cove with cosy sea-lockers, on either side the Fire grate, over which hung the Arms and Supporters of his Father, the elder Count de Pugin; two three-light windows looking Seaward were filled above transums (sic) with Arms in Stained glass of the English families related to his Mother, Welby, Towers, etc., etc.,14 the roof was of stained beams, the walls wainscoted and hung with sea-pieces. The Drawing Room had carved oak table and chairs with olive green velvet, curious cabinets, in the drawers of which were kept all old Family miniatures, jewelry (sic), and drawing materials; on either side of the Fireplace hung two large panel oil paintings by Durer which he had seen in pieces against some picture dealers wall, painted on both sides for triptych purpose. The three-light mullioned window had plate glass below transoms, as all other windows in the house. "A Sin to block such views", and above in centre a plan of the Isle of Thanet with the several(?) old Churches marked in their sites,15 interesting as shewing Pugin's desire then to add another. The Library is the most picturesque room in the house, joined to the Drawing Room by curtained arch "so as to be quiet; a door once made is sure to be opened and slammed". A three-light window on south side is filled with beautiful roundlets of ancient glass set in foliage and Martlets. At the east end is an Oriel, filled with Pugin's patron Saints, looking over his drawing board. 16Around the cornice are the Arms of his special friends;17the walls are shelved for his multitude of sketches and books of reference, "all handy". And here he worked, only interrupted by chapel, food and daily walk. The rest of the house was in keeping, larder, attics, all bright and in order with "not a bit of lumber or useless furniture". He boasted, "There's not an untrue bolt or joint from foundation to Flag-pole, except where that fool of a carpenter turned the corridorjoists the wrong way, against orders." "En Avant" with the Martlet on shield was won by some ancester (sic) (for flying over a rampart like a swallow), and that same spirit was in his blood, he never waited to be shown the way. Martlets were all over the house,18 not vainfully, for he rarely spoke of his family; though it oozed out during many years that they came originally from Zion in the Valley of the Rhone. All had been Soldiers. The first Count had been ennobled for Royal service in France. His father had swum, with bullets in his shoulders, to an English fishing smack. 19Finding himself in England an Exile, without money, he taught drawing, then studied Architecture, took pupils, and gave lessons to them.20 The Garden was masculine in design, "no arbour for catterpillars (sic) to drop on you" but beds well dug out of the chalk, the best of Kent soil carted there, reservoir in centre, and various novel fences21 to break great gales. But with all his care, he used to count, grimly, his cauliflowers after circling around their roots, leap over the walls to sea. An old labourer I76 ARCHITECTURAL HISTORY 3I: I988

turned into a Gardener, was the only man about the place. He splintered an Eye chopping wood for the house, and was a pensioner with his wife until death. At ten o'clock all ingress was stopped, and every door and window bolted and barred for the fear of burglars, which was one of his dreads, had not quite died out in England then. Later on a learned Italian, Dr. A'quaroni,22 stayed at St. Augustine's as chaplain. He was an enthusiastic Classical Antiquarian, knowing only a few words of English, and Pugin tried to convert him, in rapid french, at meal times. An ardent musician, a convert of Cardinal Newman and a very accomplished lady, Miss Holmes,23 became one of the family as instructress to Pugin's children. Speaking to her once of the power and depth of Newman's religious and philosophical thought, he added "If he was only a Goth we should have all England with us!"24

Pugin as a man Pugin was only just middle height but very strong, broad chest, large hands, massive forehead, nose and chin, well curved flexible mouth, and restless grey eyes, the expression of which turned inwards when in deep thought. His hair was darkest brown, thick, not crisp, and he shaved clean like a sailor. All his movements were rapid, full of mental and bodily energy, shewing a nervous and choleric temperament. His sight was 'like a hawk's"; he never used or needed glasses either in making sketches from clerestory stained glass or working minutely, and most of his early designs were on a very fine scale, probably from having etched much. His memory was the marvel of all who knew him for long; the mind seemed to receive its impressions without a particle of mist or shadow, keen, definite and lasting, to be recalled at will unchanged. He was thorough and earnest in doing all he undertook with all his might, and not resting till it was accomplished. He was passionate, but believed his anger was always another's fault, honest rages with no malice in them, blowing over without leaving resentment. A singular trait was the absence of discernment of character "except old friends". He trusted everybody he met, and all they said, until "found out". His own was transparentas a boy's with no "wisdom of the serpent". There was also a curious want of the sense of proportion of things; he would bear with patient resignation real troubles and griefs, but a mere trifle would make him angry or unhappy. He was no fool and knew that he possessed unusual gifts, but never praised his own work. When anything important was completed he would modestly say "That's so much to the good", not worrying himself about possible troubles but doing his best day after day. He was not narrow-minded, though always refusing to talk about subjects he did not understand. History was his favourite reading and he had full sympathy with the great men of all ages. Right and wrong was quite simple to him and the doers got rewarded or punished deservedly. There was nothing speculative in his mind, all was practical; he would never listen to indefinite or mysterious subjects, clairvoyance, apparitions, diabolical possessions, etc. He accepted the great mysteries of his Faith like a man of the Middle Ages, and with the same childlike awe of the Supernatural. Any reputed haunted room was a positive terror. One night very late at Oscott College25 he was met in the long corridor with a candle in each hand and on being asked why not content with one replied "Suppose it blew out!". He was what is called "good company", a 'PUGIN IN HIS HOME' I77 capitalmimic andtold anecdotesto the life, so with his endlessknowledge of Ecclesiology, Liturgy, History, Memoirs, Antiquarianlore, his originalthought and imagination,wit andquaint humour, he was alwaysa welcome guest. His spiritnever flagged, people might get tiredof keepingup his pacebut not of himself.Generally others remained silent when he was present.But he got away as soon as possibleto "his lugger, good plainfood and hard work in quiet". On getting into a first classcarriage at Canterburyfor Londonsome gentlemanalready seated, andjudging evidently by his clothes, asked "I say, my man, havn't you made a mistake?"He answered"Yes, I reallytook this for firstclass!". Before he reachedTown, to his great amusement, he had two invitations to Country houses and one to shoot in Scotland.26 He had, like most men of genius, a keen sense of the humourous,telling with glee his experienceof"humbugs". "TheRoman Car driver charging for a manymile driveat dark, when daylight revealedit was only round the corner,"again, "I havejust met a beggar outsidemy gate, with his face andhands tobacco-juiced and his shirtpulled over his pants who answeredme, "shureI'm a phoorHindoo CatholicSoorr!". Of an Italianbeggar who seeing him drop a coin into a poor box followed him everywhere,praying aloud behind him thatthe generousstranger's heart might be touched.He enjoyedjokes againsthimself, like the one when he askeda friendlyGoth, underthe dome of St. Peter,to congratulatehim on havingdiscovered three distinct cracks. Like all men of vigour he had a strong appetiteand the larderwas always well stocked with fine hams, cheeseand butter, home bakedbread, and filtered water (of which he drank freely)kept in a big refrigeratorin warmweather; no spirit,wine or beerwere in the house. He liked nothing betterthan a roastleg of mutton, andon FamilyFeasts he would dealout with strictimpartiality almonds and raisins, or a slice of cake. He never smoked or allowed smoking in his house, turningout guests who wished to into the garden.When recommended it as a sedativehe only shuddered.A friendonce came into the Librarywith a lit cigar,and being warned that Pugin would returnnext daythrew it out of window, but so sensitive was he to the smell of smoke that his first words on returningwere, "I'vegot a horriblenotion that some mousehas got behindmy books and died". Pugin had not a sparkof personalvanity. At home for many yearshe always wore his pilot suits, and liked the old one best. Occasionalpatching used to shock fastidiouslady friends,27but he was quite ignorant of being unusual and when cut by acquaintances insisted on knowing and walking with them. He was never, at any time of life, what is called"dressed in the fashion",but ratheron whathe called"true principals (sic)," plenty of room for the toes spreadingin shoes, coattails long enoughto keeplegs dry, "Rig-outs"for all weathers,sketching coat with inside pocketsroomy enough for biggest sketchblocks andapparatus, black silk knee-breechesand silver buckled shoes for Sundaysand Feasts, an ample black velvet gown of his own design for professionalwear, etc., etc. There were some tearsfrom28 his daughtersas they grew older, when they had to put theirstockened (sic) feet on a piece of drawingpaper, before the shockedBootmaker, whilst he outlined roundthe shapeof sole, leavinga "fairmargin for growth". He was very courteousto visitorswho were not "sightseers",and had an old fashioned way of receivingdistinguished ones with candles. Every year he had a Xmass Tree and on one Twelfth day, in honour of his marriagea huge Cakewith St. Georgeand dragon modled (sic)especially,29 and his many gueststook I78 ARCHITECTURAL HISTORY 3I: I988 characters, wearing badges drawn by himself; he kept all alive by his wit and evident enjoyment, but at ten-thirty "douse the glims and clear decks", and not a remnant of festivity was left for morning. He disliked keeping pets, telling his children "They will die in a few years and make everybody miserable". Pugin gave in Charity "with both hands" on the principal that life was too short for "chasing up only deserving cases" and "everybody must take their chance of being done at times", in fact he literally gave away his boots more than once and walked home without. At offertories he never counted but took a handful of silver from his pocket. During the famine in Ireland, he sent all he could get together and influenced others to do the same. Shipwrecked foreign sailors were taken into special care, lodgings found, doctor, and sustenence (sic). At that time there was no seamen's hospital at Ramsgate so Pugin went round and by his influence got one organized. Once a barque, full of poor Bremen Emigrants struck on the Goodwin Sands and were towed into the Harbour after great suffering. Finding eighty of them were Catholics he wrote to London for a German Priest and turned the Cartoon room into a Temporary Chapel where they went to confession heard Mass and received Holy Communion. 30 The Blessings they invoked on leaving were a real happiness. Pugin set himself to illustrate "True Principles" in the Household life. Reverence, order, simplicity, Holy Mass in the Chapel whenever he could get a priest friend to stay, then plenty of work, good food and exercise, the Church Festivals being the holidays in both senses. People hearing the Angelus and meal bells and seeing the family go to Church in hooded cloaks laughed and called St. Augustines a monastery; his reply was "Yes, United Augustinians". After the Church was built he enjoyed going into choir as Cantor and singing the Mass from his big Gregorian books at the lectern, giving his most sonorous notes at the Credo and his daughter Annie accompanying on the organ over the cloister. It was on the feast of Sts. Peter and Paul that his youngest son was born, 31and on hearing this he lifted up his voice in earnest gratitude. He was not what many would call a pious man. His mind was too practically active for prolonged devotions; but he fulfilled the Christian law with all his might, practising his Faith openly, making a huge sign of the Cross without regard to persons on getting into railway carriages and at meals, and saying his prayers in more than a whisper with a great latin missal open before him. Before burning a letter from any ordained person he always kissed it. He was very angry at anyone hinting that he would get spiritual rewards for building a Church. He had often not patience to stay through a sermon though trying for example's sake; he explained that this trouble was brought on by his Mother dragging him when a boy from Church to Church to hear Eminent Preachers, like Irving,32 but it was probably helped by his quicker perception of ideas than others and that before a sentence was half-formed he had completed it, and by his extensive theological reading causing impatience at the least break in sequence of thought or flaw in logic. Pugin was a Sailor, not only in appearance, but in habit of life, "A place for everything and everything in its place" (was a household rule with him.) Books, papers, hats and telescopes, he kept all things "shipshape", every drawing put away each night, books, levelled on shelves, candles uprighted - a rare thing for a genius to be orderly, but he was! He "kept a lookout over the Channel", at passing vessels and when "ships parted anchor in the Downs" under a gale and ran for the Harbour, he did the same, in sea boots, Souwester on head, telescope under arm, watching each "come in" with intense interest how "they answered their helms", and the sails were managed, until the critical sweep of 'PUGIN IN HIS HOME' I79

the tide was safely over; and now and then his services, voice and technical knowledge of French was of use on such occasions. He enjoyed ships and there (sic) movements from an Artist's point of view as well as a sailor's - "big ships looming in the sea mist, Galliots swimming like ducks over heavy seas," or sloops on their beam ends in great gales. He revelled in "going through the forests of masts in the pool." He would say sadly "steam boats are taking away all the picturesque in sea life". Pugin with his knowledge of ships and love of sea-effects would have shone as a Sea-scape painter.33 "A ship on the Goodwins" was like a [ ];34 he could think of nothing else and would run down to see what boats were going out. There were no life boats in those days. At last he bought a hoveling Boat, the Caroline,35to take out anchors to ships in distress and he and his Captain used to have continual consultations; but one stormy night one of the crew a young stalwart fellow not quite recovered from fever, would join his comrades and died from the exposure, to Pugin's sorrow. He devoted a part of the Grave Yard for foreign sailors. He used to play with his little children at storms, in his library, whistling the wind in capital imitations. In crises he fell back into sailor life, and cursed freely though unconsciously. An amusing instance is told of his having once interrupted a theological discussion, with a torrent of oaths, explaining in his contrition "Those D---d fellows nearly capsized the boat, my Lord". Pugin had been shipwrecked in early life and after getting to shore had crawled some miles to a cottage. 36The housewife fed him, left him to sleep and dried his clothes. She had a Xmass hamper regularly thereafter. He had a nervous apprehension of the sea ever afterwards and warned everybody never to go out in a boat without knowing the tides, and the set of the currents or at least taking a seaman who did. "Only the ignorant despise the dangers of the Sea; hundreds of fools go out at the risk of their lives without knowing it". He was eloquent about two youths lately picked up at dusk, one lying unconscious, the other feebly baling with his boot. Like a sailor too, Pugin, was susceptable (sic) with regard to woman and emphatic on man's protecting duty.

The Work of Pugin To bring back to England Christian spirit and integrity in Architecture and its kindred arts, and destroy Paganism with its shame. Going about the country when a boy with his father, and seeing the beauty of the fragments of the Middle Ages yet left, led him to seek first the reason why, then to find out that immutable principles lay at the root of all these designs and guided their execution. So he set himself the task he never gave up for a minute of his life with thorough faith. The work was a good one and worth a mans whole strength. He camejust at the right time. Sir Walter Scott had Mediaevalized poetic-story; Christian Archaeologists and Antiquarians were forming associations, articles and controversies in Periodicals kept the subject alive; and so his work rose on the crest of a wave of public interest. His Contrasts37startled the country. People travelled to see the Churches he was building, wondering at the youth who did these things. His enthusiasm infected all he came across; his writings and sayings were the talk of Universities, Chapters and Parsonages. Though he became what is called a "Pervert"38no one ever doubted his sincere conviction; I80 ARCHITECTURAL HISTORY 3I: I988

indeed had he known it and been ambitious, his worldly advantage lay on the side of Anglicanism. Very soon Roman Catholic Colleges39 gladly welcomed the man who showed them the beauty and consistency of the old externals of their Faith. John Earl of Shrewsbury40 took him firmly by the hand. Commissions to design Churches and Buildings poured in upon him until even he was obliged to own he was "harassed to death with work of all kinds". His special professional advantage lay in his being a rare combination of Architect and Artist, though of course this doubled his labour.41 He was feted wherever he went, but he hated what is called popularity. At the openings of Churches even, there was always "Something out of harmony with its solemnity", he "shuddered at having to make a speech", and would run back as soon as possible to his quiet Sea-Side home and work hard to build his Church. Pugin's faith as a "Goth" (was this) - that the Art externals in the Middle Ages were the natural leaves and fruit of the Christian Tree, which could have grown on no other, enforcing its dogmas, fulfilling its liturgical needs and expressing its spirit in material form truthfully. That from the Cross of the foundation to the Cross of its spire, a Christian Church illustrated the aspirations of the Faith in its columns, arches, and pinnacles, the doctrine of the Holy Trinity in its triple divisions, the Resurrection in its orientation, the Crucifixion in its Rood, connecting the living on Earth with the living in Heaven; that it was most fitting in church arrangement for the administration of the Sacraments and the celebration of the great Feasts of the year, with its cloisters for quiet thought, Chantries for prayers for the dead, and chapels for all possible devotions; that it also showed forth the Catholic Faith, in its truth of construction and symbollic (sic) ornamentation, that "Truth can only beget truth", that "Gothic was a true child of the True Mother", so excelling all other styles in solemnity, stately dignity, and consistency, throughout its great range of the severe lancet, its elaborate decorated to the homelier perpendicular. Besides all this that it possessed the most scientific construction, giving the greatest strength with the least weight, in its buttressed arms, and lofty groin, ready adaptability to all materials and modification to all climates, and its power of endless variety though all stamped with the unity of the Faith. He believed Pagan architecture to be the reverse of all this, that its lines "grovel on the Earth" that "its spirit and symbolism are those of death", its ornamentation "reeking with skulls of animals, sacrificial altars and foliage"; that in construction it is a "mass of shams", "beams of wood being imitated in marble and stone", that its sole merit lies in "certain arithmetical proportions and the sculptor's skill", that "Christian thought in a Pagan costume is a discord in architecture and Art". That the "Renaissance was a huge mistake", "sapped the good out of everything", that it "could live only so long as the Christian elements of truth lingered in it"; that it was "destructive all that is good in thought and material working"; that "this poisonous tree had to be uprooted before the Christian tree could flourish". What did Pugin find? Cathedrals turned into shows, Parish Churches left to rot or be defaced by galleries and pews everywhere, the Pulpit the centre of devotion, hammer- beamed roofs ceiled over, the glass destroyed, the wall paintings white-washed: and all this wreck he believed firmly to be "the real work of the Renaissance". Going into Catholic Chapels (there were no Churches in those days) what did he see? The very Tabernacle a pagan temple, the Altars a deal sarcophagus over which a collossal (sic) eye within rays looked down from a flat ceiling, artificial flowers under glass shades 'PUGIN IN HIS HOME'

between the Altar candlesticks, costly marbles produced in cheap paper, brackets painted with sham shadows supporting nothing, and vestments who can describe! In the Music Gallery Soprano and Contralto soloists publicly emulating each other, Lady Vergers in feathers collecting the offertories, High Mass advertised as attractions.42 Even Bishop Milner's own chapel, he, the Catholic pioneer of the Revival, not exempt.43 But more than enough. Pugin knowing what he knew of the "ancient glory of the Bride" in England, might well shrink into corners. It is true the heavy hand of Persecution had onlyjust begun to loosen its grip and that with the exception of those Nobles and Gentry who had "kept the Faith", Catholics were very poor. But Pugin often said "Poverty is respectable, but not beastly shams". When he returned from his first visit to Irelandhe spoke with admiration of"The Faithful kneeling in hundreds outside a hut in mud and rain", of"the candles being stuck into a lump of clay and lit through a hole in the wall". "Thank God, the Faith can live through anything!" all the same he sent off sets of simple Altar Vessels to the worst cases. But in England he thought there was no such excuse, only want of knowledge and thought. Let us follow his own method by a Contrast. Keeping in mind this true though slight picture of the state of things before Pugin built his first Church, we need only go to St. Chads Cathedral44where the liturgy is carried out in its Mediaeval order and solemnity without any discordant note, and think for ourselves. If Pugin could look through the Country now, the land he loved so well, and see what a change has come over it since he began single-handed when nothing was known, though everybody ready to take fire, he would modestly rejoice, "I tried hard but the seed was truth."

Pugin at Work All through his life he worked "single handed, being his own clerk" saying he "knew the trouble of having no clerks, but didn't know the troubles of having them".45 The fact of every drawing, sketch, plan and detail being his own was one cause of the individuality of all his work. The few architectural drawings left are full of artistic interest, but nearly all have been lost;46 none came back to St. Augustines out of the acres of paper covered with thought. Many that deserved being kept in the British Museum were found cut up for Templates. Three rolls turned up accidently (sic) from an inquiry after mislaid sketches. Pugin had a "horror of accumulation". Every letter he received he answered at once and burnt, and so with plans and drawings as soon as used, keeping "a clean board". A list of things wanted was pinned to the Bookcase, taken in order and crossed off when done; this ended he would start off visiting his buildings in progress, travelling in the dark and making all necessary drawings on the spot. He carried about all his accounts in a five inch pocket book, kept in minute writing, like his diary;47"no end of time is saved by being shipshape". He insisted on Myers48 being the Builder, "he knows the sort of work I must have and his Boys are the best carvers in the country". These Boys had been copying old casts at Myers place, collected by himself.49 The pace at which he worked would be incredible to anyone not seeing it.50 His few implements were at hand and his design was in his brain distinct even to the detail, so without hesitation he pencilled or penned or brushed it in; he never rubbed out or altered, all was as easy as talking, he used any quick method, ruling in straight lines, striking in arcs with compasses; "What does it matter how the effect is produced, the result is the thing". I82 ARCHITECTURAL HISTORY 3I: I988

He was just two hours making a large pen and ink interior of the Chapel of St. Edmunds College,51 with stalls, glass and decoration. He always worked with steel pens, and Woe to anyone who carried off an old one!!! A coloured design for the East Window of St. Mary Mag College, Oxford52 was asked for one morning post, it was posted by eleven a. m. The working drawings for St. Mary's, Handsworth53 were wanted by a certain day, on which he had promised to be at Westminster, so getting up at four "he stuck to it", watch on table, and he left by the midday train. These drawings exist, they are absolutely complete in every architectural detail, all centres shown, framing of timbers etc., even the fixing of Cross on Tower roof, so that any intelligent builder could erect the church. It is instructive to take these drawings to the Church and see how Pugin realized his ideas, all on two sheets of drawing paper. He never repeated himself except in some favourite mouldings and tracery. He worked fastest when happy, singing during pauses Gregorian hymns and snatches from Operas. He was sensitive, and a bad post spoilt his day, but a good one meant a "Jacks alive day", Viz covering the tables with drawings and an overflow on to the floor, he poured out fifteenth century details like a conjurer. So inexhaustible was his energy that he reserved extraneous drawings, such as the illustrations for the Lives of the English Saints, books of Prayer etc., for candle light. 54 "It is so pleasant to make an extra guinea or two at the end of the day!". Pugin's handwriting was picturesque, upright, and not difficult to those accustomed to it, but words occured (sic) in haste that were only a horizontal line with a tail up or down. He only kept copies of important ones, or when he "expected a row", and these he made himself; his memory stood him'in good stead for ordinary correspondence.

As an Artist

Above all knowledge and experience as an Artist he had an instinct for the beautiful in form and colour, and so we find poetic feeling in all his work; but his was a practical mind not given to pondering on what was beautiful in abstract. Of the old Masters, Durer's masculine religious spirit in Mediaeval form was "the end of art". Holbien (sic) attractedhim, despite his giving up the Gothic characterfor Naturalism. Rembrant (sic) astonished him. Michael Angelo and Raphael "were disguised pagans" and their art descendants "abomination". The scenes he painted for Covent Gardens5 were said to be wonderful by those Artists who fortunately saw them. Kenilworth56 was a grand theme for him, but he made sketches for others.57 One is a picturesque mix up of Rouen Cathedral and timber houses on the edge of a cliff, a harbour below with ships coming in, bringing all he loved best together and in such perspective as could only be given by himself and Violet (sic) le Duc.58 Speaking of his scene painting he said "I have never regretted the time spent. If an Artist wants to get breadth, buckets of colour gives (sic) it". His criticisms on modern paintings were most caustic. Dyce59 and Herbert60he thought the painters of the day; the Westminster frescoes by them were extolled, but he pointed out the first exhibited picture ofMillais61-- Isabelle- "That's going to be the man. He has got the Mediaeval spirit in him". When "orders were short" he would "get rid of the post" and then have a day's sketching. Should the "day be bright and shadows full of colour", he generally stood, and lightly pencilled in the outline, then slightly damping his rough paper, dashed in the blue 'PUGIN IN HIS HOME' I83

sky leaving the white parts, then, beginning with the distance, he would make the picture grow towards him in strength, leaving nothing to be retouched, using body colour only in the buildings, thus giving his sketches their distinct yet fluent look. Under an hour sufficed for most without a rest, sometimes thirty minutes, and he would bring back "only six on account of the long walk". The craft with which he would make the perspective62look true and the light and shade of colour help the drawing, with only a few touches, beating days of patient labour in others, has been the marvel of artists who have seen them. One whose wife praised one of his finest as "really admirable" reproached her with "why don't you screem (sic)!" Of the thousands upon thousands of sketches in pencil, ink, sepia, and colour, from Churches and their "treasures", boats, landscapes, etc., there is not one has not the truth value of a Photograph with the art glamour of the man added.63 Some Royal Academicians tried to get Pugin made one, saying he had only to send a drawing and his wife would never want, as a widow. "Well I will try it for once but that must be final." He made three. 64 A Birds Eye View of St. Augustine's Church, house and schools, with peeps into the cloister, Chantry etc., set in foliated border.65 This was long before the church was up, and two little scrolls can be found recording on one "This church was begun I840" and on the other "in te domini speravi".66 The second was St. George's spire, Southwark67 of which no design existed, and the third a bird's eye view of Bilton Grange, built for Captain Hibbert.68 It is said that Professor Ruskin criticised them as "clever Boy's work".69 When a Sculptor was chosen as associate70instead he said "I'm glad he wasn't an Architect. Now leave me to my own work". Herbert on one visit got him to try oil painting, giving a few hints of the process. He only completed two, the early tower of Rouen Cathedral from the roof, and the bridge of Lucerne. "The vehicle is too streaky for me, and I have no patience to wait until morning". So of course they look dull by the side of his luminous water colour drawings, but the drawing and tone of colours is as fine as can be. He never etched at Ramsgate; repeated inflammation of eyes stopped it to his vexation, but his sight never failed to the end. He was one of a circle of Artist Etchers, Cruikshank,71 Townsend,72 Read73 and others, who only etched their own compositions. He was rapid with the point, and wrote to a friend whilst the "Apology" was being written for press "I am etching a plate a day".74 His genuine enthusiasm in his Art, led him to value any worker on "the side of truth". In congratulating a younger Architect on a Church he had built, he added "for God's sake avoid mitred joints," and he embraced in French fashion Gherts75when he saw [him] at work on his new stalls at Antwerp. Anyone who did anything he thought good was made happy at once by his cordial praise, but there was no measure of contempt strong enough for anything that "flavoured of the beast".

Cartoon Room

Pugin's ideal of Stained Glass was a high one,76 not content with skilful drawing or even right principles, but aiming to rival the religious spirit and fervour of the Middle Ages. So he built a Cartoon Room in his Garden, covered its walls with fine carvings and casts, and got Hardman to send youths who shewed marked gifts for Art, from the works at Birmingham to be trained under their influence by himself.77 Frederick Hill, Edwin Hendren, John Early, (all fortunately having good voices formed a strong addition to the t84 ARCHITECTURAL HISTORY 31: I988

choir) and later on at Pugin's death they carried on the work, as far as was possible in his spirit with the help of William Tipping and FrankGreen under the direction of his pupil and son-in-law. Pugin was incomparable as finding the right thought, designing arrangements of groups, compositions, giving breadth of effect and character. He has been too hard worked to find time to study the Human figure or the detail form of draperies, but had a keep eye for what was high in expression, and at pauses in his Architectural work he used to enjoy rushes into the Cartoon room, praising, condemning, and roughing out figure etc. in pencil. For some years Francis Oliphant,78 the chief glass draughtsman, used to come down to London and rough out his cartoons including those of the Kings and Queens in the House of 79 Lords. He used to be amazed afresh each visit at Pugin's genius for Art, only complaining it was a little hard for others that he should always be in the right. As a colourist he was supreme, not only for splendour and contrast, but on his knowledge of the juxtaposition of tones, and subtle harmonies, which even the old Artists, excepting those of the Renaissance, might have envied. Seeing the glamour produced by time in the ancient Glass and that simple imitation would be crude he did not wait for his effect to come as a mere antiquary might but varied the whites and introduced transition tones, like a Genius. He always wrote himself the colouring of windows on the cartoons knowing that their chief excellence or defect must lie there. 80

Houses of Parliament

When the Government had decided to place the Building of the New Palace in the hands of Sir Charles Barry81and from its proximity to Henry 7th Chapel it should be 5th century in Character, he soon found that the big work would more than consume the whole of his time and that he must have architectural help in detail drawings. He naturally turned to Pugin who was well known as a Master of construction in all materials, and thoroughly at home in 15th century ornamentation.82 Pugin gladly made an agreement to find the designs and working drawings needed. This ripened later into his receiving a salary from the Govern- ment83to instruct and keep going the carvers in stone and wood of the Heraldry, foliage, etc at Thames Bank, (the statues had been entrusted to Thomas)84 some eighty under Barry's supervision. Other enrichments such as stained glass, metal work,85 tiles,86 decorations87 etc., Barry left to his judgement, having a cordial admiration for his friend's great gifts as an Artist and colourist. It would be difficult to find two men more dissimilar in temperament or talents, Barry full ofjudgement, patient, never doing one day what might be safely delayed to the next, his mind sifting every thought, method and form, and his decision the logical result, Pugin with inexhaustible fertility pouring out thoughts in form without hesitation or effort, the tie between them was their cordial admiration of the English development of Gothic, and their zeal to produce the finest of National Works. The two men understood each other and worked loyally together, Barry in the superior position, Pugin in the inferior, the one settling the external forms and the other helping to carry out. They used to consult in London chiefly, only rarely Barry came to Ramsgate.88 Barry was truly great at plans, and arrangements and patiently holding his own before committees and authorities.89 Pugin once said "I could never have done Barry's work, but should have thrown it up in disgust in a few months". They became and remained fast friends until Pugin's death and Barry was 'PUGIN IN HIS HOME' I85

present at his funeral. Only once was there a danger of it being broken. A roll of drawings was returned to be redrawn, Barry insisting on some changes, Pugin resisting.90 After reflection the latter gave way saying "I must finish my Church, and it is only what I agreed to". The rate at which those drawings were remade was a miracle. Pugin standing before the Houses when nearly completed admired the Victoria Tower, not yet finished, as "the finest work of the day". "If Barry had only kept down the Archway, it would have looked twice its height". He spoke in strong praise of the Courts and the top of the Towers seen over them, regarding this the best part of the building. He said once "it's all classical except the detail" and "looks as if it had been designed with pen and ink, instead of with a brush; it wants shadow. The sky line has saved it". Barry's touch was a careful, methodical "quill pen" one giving each form its distinct value. Pugin's a brilliant "steel pen" one, picturesque, suggestive and full of poetic glamour. Barry was not an etcher, Pugin was.91 The Government of the day, knowing the great help Pugin had been to Barry in such a great National Work very properly granted his widow a life pension,92 and the architects in conclave chose him to be as (?) the Corner Stone of the Memorial to the Prince Consort as representing English Architecture of the day.93

Works

In a rude hasty Portrait as this with only truth for its merit (but which would never had been made, had not the memory of Pugin's work become dim in a quarter of a century)94it is possible only to glance at what he accomplished. A fair and full life must be written giving his some (sic) letters95to do himjustice. Fortunately Pugin's touch whether in prosaic plans, illustrative sketches, or their realization in works, is as unmistakeable as an etching by Rembrant (sic), or a phrase by Newman. Despite all his professional difficulties there is, however simple and inexpensive, nothing mean or unworthy; all the materials are put together with truth and dignity, no striving after effect. He had also the rare gift of individual expression, that power of a reverent and earnest mind which is above criticism or measurement, the putting into material form something of himself higher than knowledge and skill. He began with Perpendicular knowing it to be our National Style, hence St. Mary's, Derby.96 Then for his first Cathedral, St. Chad's, Birmingham, he went to Rhineland.97 St. Chad's Cathedral was his first big church. He was twenty-two years old then, and when the Norman Crypt was finished, and the church rising up above the houses, people who were interested in architecture came from all parts of England to see this "Boy's work" and owned there was a genius in the Land. It may be said that this is one of the most impressive of his Churches, few can stand at the porch doors and look towards the Chancel without feeling this magic power. At Nottingham98 the direct wish of the noble donor led him to make it severe Cistercian. Jesus Chapel, Pomfret,99 is a gem in late fourteenth century character. At Cheadle100Pugin was led to believe that it must be an inexpensive Parish Church until the roof was on, when he had orders to finish it as richly as possible, so high up went the spire, and all the fittings and decorations are lavish. 101 St. George's, Southwark, 102he hoped to be his finest church, and now even without its spire or clerestory, or the small poem in stone the Bishop's house that gave it true scale I86 ARCHITECTURAL HISTORY 31: I988 outside, or its screen inside, it is still looked upon with pride and gratitude by all who know the difficulty of doing fine things. Pugin used to say that "no Architect was free to do his best, without he was his own paymaster" that "the devil got in in the shape of a committee man, or a whim of a donor, or a break down in the funds to ruin it". Of St. Augustine's103he said "This is my own child". Amongst his designs not accomplished those for the Milner Chantry, Oscott,104 are perhaps the most beautiful sepia drawings he ever made; they are evidently only the work of a few hours, full of poetic glamour in touch. The designs for St. Chads, Manchester, 105are also very fine, and those for St. Margaret's Edinburgh,106 show how interested he was in this work. The Cathedral, Killarney,107 is perhaps most characteristic of the Master. He found granite to be the native material to build in, so it is granite in design, perfect in architectural line and proportion, no carving, with the simplest of straight mouldings for the masons to "hammer out with a sound like smiths on anvils". Close upon 400 sheets working drawings108 for altar furniture, metal work, jewelry, exist from his first wooden Candlesticks for St. Chads, (he could not get them made in metal at that time) through a series of chalices with all their enameled subjects real size to the splendid metal work for the Palace at Westminster, still exist to delight anyone who can understand. Pugin did a good work at Kings College, Cambridge, when on hearing the authorities had decided to restore the magnificient glass like one window which was fortunately put in as a specimen, he remonstrated so strongly that they abandoned the work. 109 Designing and drawing were as natural and easy as talking, and he usually kept up conversation during this part of his work, but writing was more difficult, especially when controversial, which excited him, and conduced more than all else to the overstrain of brain which was to stop his pencil and brush in mid-career. Opponents accustomed to use the pen only, assailed him on that side of his work, but he had great gifts as a writer, clearness of idea, and vivid depiction of his fertile thought, and all his writing is eminently characteristic of himself, strong and caustic without bad temper. He had a great sense of humour. A piece of blank verse of an imaginary "Romance of the Tower Room" which he read to his family and burnt, was a very high ideality and the charactersvividly given. His chief projected literary work was an illustrated "Story of the Reformation" giving the state of Christian Architecture and Art in England before and after the change and the true account of the destruction of the Abbeys, Monasteries, shrines, stained glass etc., he had written some withering denunciations of the Iconoclasts, 10 their charactersand motives and made a few sketches, but time failed him. Pugin influenced others, not only by works but by letters, of which he wrote an incredible number, not only to friends in England but abroad. If only a few of the answers had been preserved to speak, even those in England alone, what an interest they would be now, but he burnt all.11 More than three hundred remain of those to Hardman, a mixture of business, of his own work, Catholic progress, current great (?) wants, indeed all subjects. 112 His letters home, when away were full of interest especially from any place he had not previously seen, as Carcassonne, Avignon and Italy. On the Continent he was so well known to the Vergers of most of the great churches that to say you knew Pugin, was always an "open sesame". 'PUGININ HIS HOME' I87 Mediaeval Court"13

Seeing the proposed Ex114 gave a good chance to show what was doing in England in Gothic Architectural Art he induced Myers Hardman Minton and Crace, to fit up a Court, he supplying designs and trying to find buyers for them, they emulated each other in their efforts. The result was the surprise and admiration of all who cared for such things. 115

Works116

Finding that abroad all care for preserving old Mediaeval carvings was dead he bought up all he could1l7 and placed them in his churches, the stalls of St. Chads, Museum at Oscott, as instances, and his own Cartoon room was filled, one oak newell with the figure of the B. Virgin, St. Catherine and St. Martin, was snatched from under a plumber's pot, and the charred parts show what a narrow escape it had.

Coloured sketches on his travels118 Not only interiors and exteriors of churches, hundreds of these brilliant sketches remain, Boats on the sea, boats on rivers, glimpses of Churches up streets, old Crosses, houses, Graves (?), effects of scudding clouds, spray, from sunrise to sunset, all he thought beautiful, or worth seeing, form a collection, in which his vivid mind, certain hand, and exquisite sense of colour, has caught and beat (sic) in effect the more elaborate drawings of Landscapeand Architecture painters of his own day, though done and perhaps because done at lightning speed.

Etchings119 Pugin etched with rapid dexterity, and he may be fairly called unrivalled as an Architectural one, for truth of form, perspective, Artistic richness, gradations of tone, delft (sic) touching in of landscape foliage, details etc. Perhaps the very finest are in the Contrasts, the Catholic Town, Chichester Cross, St. Mary Redcliff Church.120 The "timber houses"'12 are all concise and spirited in expression; in "the Revival", Jesus Chapel Pomfret, St.John's Hospital Alton;122 in the Apology, about plate X of Church Furniture a letter to Hardman exists after one day's work, "just finished at one etching, a plate that will interest you" a feat anyone might be proud of. The Frontispiece is crowded with Churches and Chapels etc., and was a grateful "Laus Deo" of 1843 that "the good work was progressing".'23 This is interesting as showing how he hoped to complete the spire of St. George's, Southwark. In the "Present State of Ecclesiastical Architecture" he tried to economise sight by Wood Cuts,124 but the result was "so tame" that he etched the rest, it is a lesson to see them together, one with only prosaic truth of form, the other in his own suggestive touch, but to get a fair idea of their quality early impressions from these plates mustbe seen, he used to groan at the Copper "wearing down so fast" and the of (sic) "retouching" being "ruin". Of course, the truth of design drawing and perspective remains afterwards but the highest charm is gone. Violet (sic) le duc125was more fortunate in his drawings being all on wood. I88 ARCHITECTURAL HISTORY 31: I988

Twice inflamation of the eyes set in, but being warned of the gravity of the last, he was very patient of the dark room and docile to advice, but added sadly "it is a bad job my etching is over". He tried Anastatic paper126justthen thought of, but it was "too sticky" for his rapid pen and the first drawings getting damped in transit he gave up.

Critics127

Some Catholic writers in Periodicals of the day, mocked at "his ultra Gothicism," small quarriedcasements, low doorways, fire dogs, "it is easy for those who only look on and talk to laugh at those who work." Had Pugin lived after himself he would have avoided these inconveniences in houses, for no one was more open minded than he was of his own shortcomings. He accepted Mediaevalism as a truth that satisfied his intellect and Artistic sense of beauty, but was not so ignorant as not to know that refined intercourse and inventions was (sic) changing the world fast, that his favourite sails must go, gas replace candles, freedom from glass tax, 128 enlarge windows, etc., etc., that the designs must perforce follow, but he would never consent to put in blank windows and the gas jets should be kept down to the minimum necessary, "for it ruins everything." He never pretended to any spiritual inspiration, or opposed Ecclesiastical Authority. No more obedient Son of the Church than Pugin. His defence of Screens129against the crusade of pious folk to pull them down then and [which] has been intermittent even till now, was on the principle that they conduced to Reverence, order and convenience. Some talked of Pugin's "egoism". There was not an ounce of vainglory in him. It is common with earnest Reformers especially when working single handed, to see their cause through their own enthusiasm. Again critics complained that his one idea of enrichment was crockets and ornament. 130 He grieved over it, but before Pugin there was no crocket or ornament. He would gratefully have covered his Church walls and pavements with story in Carving in painting, as he did his glass but there was no one to do it. He started to teach youths, but did not live to accomplish his desire. French gothic Angiquarians (sic) accustomed to their own, minute imitation of old work, faithful to the mannerisms of each period, in glass even to the effect of time, complained that his work was "all Pugin", so it was in the sense of inviduality (sic) being present, for he never slavishly copied old examples, but having picked up the characteristicsof each style developements and their spirit, designed freely in each. Pugin did not always Canopy his Altars, because it was quite rare in the Middle Ages to do so in England. In one point only he failed to fulfill the Rubrics, was in carving his Altar Frontals, the old ones being always plain masonry. This is all the more inexplicable, because of his habit of continually reading the Liturgical Rites and arrangements at spare moments, and as he was the foremost to bring them into notice, the ignorance both of Catholics and Anglicans being dense before the Glossary131appeared.

Italy Pugin had often declared that the "test act of a Goth's faith" is "to go to Rome and come back unchanged". So he went to see for himself, taking no introductions, as he had "no time 'PUGIN IN HIS HOME' I89 for talking".132 He said "There is lots to admire in the old Basilicas, and Frescos, but Medieval Rome has been ruined by the Renaissance". Of course he was "disgusted" at the "attitudinising of Saints, and Theatrical Virgins in marble," the "Brogdignagian sculpture killing the scale of the church" "heaps of false constructions and perpetual shams," etc., etc. He returned as he went a fervent Goth, his hatred of Paganism not a whit abated, because he looked upon the question Christian or Pagan as "One of principle, not taste", things were "either right or wrong" and "an admixture did not take the bad out of the good". "The Holy City should be kept by Europe as a place of pilgrimage". His numbers of very careful sketches from Italy133shew he saw all cities of interest and how keenly alive he was to the beauty of this phase of Gothic seen in its own climate and native materials, how the buildings and scenary harmonized, their "picture Galleries inexhaustible", what a "race of artists they have been", but how "degenerated since the revival of Paganism" though "they never quite shook off the old". He spoke of Perugia and Florence being "cram-ful of instruction to a Goth." The Stained Glass was "splendour itself in colour, admirable in design and true in painting", being "able to have outside colour was a great gain to them". Their "fine marbles did away with much need for architectural decoration on walls". Of Milan he said "Don't look at the detail and you have got the finest Church in Christendom". Their tombs, and monuments of their great men in public squares delighted him, also the "processions on Corpus Xti with lights, whilst every balcony is hung with their richest hangings". But still his architecturalidea was Northern and more masculine. He delighted in "visible true construction" and "broad shadows", to appreciate to the full beauty that depended so much upon surface-colours, delicate lines and shades and subtle poetic Art feeling. Westminster, rather than Orvietto (sic), Chartres rather than Pisa.

Marriages'34 His first wife was a Miss Garnet,135they were both children, Pugin seventeen and she eighteen. Engraved by himself in the cover of his watch is the record of her death, "one week after our little daughter Anne was born". 136 He never refered (sic) to this early grief, until she in time had a daughter, when he was very emphatic "let no one see her, without the doctor orders it". Pugin took his young wife to Lincoln and Willson137who was architecturalguardian of the Cathedral, gave him a key, that he might study at will. It was winter time but Pugin spent all daylight there; the old lady who explained to visitors the beauties of the Church, used to conclude her description with "and that" pointing upwards "be Mr Pugin, the Harchitick, a taking off the roof, and why he bees not froze to death, the body o'me can't tell." There was found on a box directed to himself, always shielded by mysterious command from injury and carefully packed, her work box, and inside it a cast of her face after death (of finely cut and gentle features) with part of a little child's dress, thimble, needle and thread, 138 her last work. She lies buried in Christ Church, Hampshire. 139 His second wife was a Miss Burton;140 her relations were connected with Convent Garden Theatre.141She was extremely good looking, full of life and energy; their married life was chiefly spent at Cheyne Walk, Chelsea, 142where he etched and drew with a circle of admiring artist friends. Here a chief part of Pugin's work was done. When they tried to

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dissuade him, so young a man, from encountering the enemies he must make in publishing his "Contrasts" he only laughed!143Here his children, Edward, Agnes, Cuthbert, and Catherine Mary were born, 144 and shortly after the birth of the last Mrs Pugin died from a resultant fever.145She was buried in the Crypt of St. Chad's Cathedral, Birmingham. 146 He had an enthusiastic attachment to Miss Amherst147 for some years, and on her becoming a Nun, he was quite broken down. Those who never knew him may smile at his being able to fall in love again and again but it is truth, he was always young through pure vitality and would be happy or miserable like a boy. Pugin's heart was again touched by Miss Lumsden,148 whom he met at a friend's. Finding she was strongly inclined towards Catholicism, a correspondence ensued in which she agreed to become a Catholic and his wife; but on her being persuaded by her relations to change her mind he was so afraid that Friends of both thinking he had acted underhandedly he published the correspondence privately. 149 In 1849 Pugin married the neice150 (sic) and adopted daughter of Mr. John Knill of Walworth and Fresh Wharf, a younger branch of the Family of Knyl Court, Salop. She was fair (he was artistic in his choice of wives), much younger than her husband, an enthusiastic admirer of his Genius, and he devoted to her, so the last few years of his life were spent happily at St. Augustines. They had two children, Margaret and Peter Paul. A step-Mother's position is always a difficult one, the more so when she has children of her own, but she won the praise of all. Mrs Pugin says that when she heard him storming outside at some stupid workmen, he would come in with a smile on his face and answered her surprise by "I'm not such a brute as to be angry with you."

Pugin's Friends151 Pugin loved to draw quietly in his library and "make a good day". Hence the front doors were kept locked. Once when the Bell was reported as broken, "Very glad of it, how can a man work expecting a ring every second". Curious people having heard how unusual he was himself, and how interesting his house, often tried to get in by all kinds of devices. Etty152 came during Pugin's absence and was so enchanted with the house that he declared it inspired him and he must paint! When in his simplicity he exhibited the result to the shocked household it was, of course, an Eve standing on a white cliff against a perfect blue Ramsgate sky. If his friend had been at home, things would have gone badly with that picture sketch. Sir John Lambert153was a Salisbury friend, when Pugin lived at St. Mary's Grange,154 (two miles up river, with a grand view of the Cathedral Spire) a most quaint house he had built with tower and drawbridge. It was Lambert's influence that got his friend the Catholic Church in Salisbury, St. Oswald's155 to build. They had entire sympathy on the subject of the Revival and Gregorian music, Lambert having written some valuable essays on Plain Chant. Canon Bernard Smith156 helped Pugin to make extracts from ancient works for the Glossary. He came but seldom but was welcomed as a valued friend. Dr. James Daniels157 (sic) was the family physician. Living at Ramsgate he came frequently, and Pugin and he had merry talks about all that was going on in the world. Father Costigan158was the Priest of the Catholic Church at Margate where Pugin and his large family went to hear Mass. He had a large kindly nature in a large frame, and seventy 'PUGIN IN HIS HOME' 191 five miles of coast to walk to find his flock. The chapel was of the conventicle order with a Pagan-temple-Tabernacle, so Pugin knelt on the gallery stairs out of sight!159This good Priest was litteraly (sic) a son of the days of persecution, knew as little as most others of the ancient Catholic liturgy, and its externals, whilst his friend was aflame with ardour to restore it; but they could talk about the Fathers. He lies buried in the midst of his congregation under the Grave Yard Cross in the cemetary (sic). Talbot Bury.160 They were days of laughter when he came. Having heard much of Pugin's early life161he chaffed him about "smuggling over antiquities for sale", his "basin dinners at Aldgate pump", of "his sleeping in private boxes, when scene painting," of "being enticed by Pugin to tempt an Artist for a day's holiday without the Wife's permission, and of their hearing a terrible voice on the landing 'Then you may let yourself in Mr In the morninghe would excuse his lateness by "an hour spent in fruitlessjumps, brush in hand, to catch a glimpse of his head in the beautiful antique Mirror". He told of Great Russell Street and Madame Pugin162keeping the pupils in order, telling a young one that "his brains must have gone to eke out the marrow of his bones". He imitated the Count saying to a friend in his French accent "You have not seen Madame Pugin this morning! Ah, how happy is that man!!" and to a discontented pupil at dinner "What! you disgust your food!!!". He averred in his fun that the Count used to write to the Parents that their boys needed country air, kept them drawing out of doors twelve hours a day, then published made (sic) use of their work in his architecturalpublications.163 He related the astonishment of the Dean of Westminster at finding Pugin, as a boy of eight, gravely seated in the stalls of Henry the seventh's Chapel, drawing its groining; and told of the elder Pugin's amazement at his Son's precocious talent (later borne out by letters), of his teaching his father's Pupils perspective, of his rowing out in a boat to sketch old London Bridge before it was taken down, (the drawing exists and might have been by Hollar).164 Bury declared funnily that Pugin etched his own designs of furniture for Windsor Castle to illustrate his skit on Birmingham and Sheffield Gothic.165 But of such scenes with such actors all writing seems tame. Bury's admiration of his friend's genius was steadfast till death. Pugin's earliest Ramsgate friends were the Thorntons, who lived at Sturry on the Stour. One of their Mills was close to St. Augustine's and their children played together. The Buckles lived for some years at Ramsgate, he having Custom-house duties there. He had been an Ensign at Waterloo; she was both learned and charming. Herbert166used to come oftenest, sometimes bringing his wife, and always stayed a few days. Their recollections of early times, and shortness of their funds, was most amusing. Once he insisted on finishing the portrait, 167begun eight years before, but Pugin pleaded "The Post" and "going away" anything in fact, in his disgust, but Herbert fixed his unfinished canvass, set his palate (sic), placed a chair, and waited calmly. Pugin remon- strated "look here this is not treating a man fairly in his own house, how long do you want?" an hour was the reply; then they bargained down to twenty minutes; out came Pugin's father's watch laid on the table, and neither spoke till "time was up." Herbert once played a trick on Hardman (who happened then to be at the Grange) by painting his own face so that he was quite unrecognisable, then forcing his way into the Library, in a french accent he demanded money from the "unworthy son of his old friend Compte (sic) de Pugin," etc., Hardman fearing a violent scene pushed money into the pretended exile's hand and got him out of the house. In a few minutes afterwards, he telling

13* I92 ARCHITECTURAL HISTORY 3I: I988

the now undisguised Herbert confidentially what a scene they had had. Those were happy days! Hardman168used to come two or three times a year. They had met first at Birmingham and he perceiving at once the genius of Pugin, at once threw up all other work to devote his life to the cause of the Christian Revival. Metal works were at once started and then Stained glass, no easy task when the knowledge of "true principle" was dead, and boys had to be taught everything; but the work grew and Pugin and he became as brothers. Hardman was Choir-Master at St. Chads, having a splendid bass voice, and men and boys had been trained to sing the most difficult of florid Church Music in the West Organ Gallery. Pugin had heard these Masses and having a retentive ear, used to mimic them, "The Brigands chorus of Hosanna", "Hardman's love solo in Mozart's Gloria", "The rats at play," of the fugues, the "Amen's (sic) that never ended, etc., etc.,"; quoting Rubrics, "against useless repetitions, multilations of inspired words," until he made Hardman promise to study Gregorian Music, which he did, became convinced, and convinced others. The Choir went into the Chancel in surplices, the organ was moved near them, and to this day St. Chad's choir has been looked up to as the truest exponent of Church Music in England, if not Europe. When at St. Augustine's, he and Pugin used to be cantors in the Church, and the Liturgy used to be sung with zeal in the true modes and rhythm. Henri Gerente169was the son of a Frenchman who married an English-woman, and he and his younger brother Alfred became Christian Artists in Stained Glass and sculpture in Paris. The restoration of the glass in the Sainte Chapelle is mostly due to Henri, who on one occasion stayed at St. Augustine's after a visit to Oxford, when his drawings delighted Pugin beyond measure. Captain Shaw was deputy Harbour Master and came to have a talk with his friend weekly about sea affairs. His wife and family were always present at Festivals. Captain Warman commanded the "Resolution" a large sloop, sailing between London and Ramsgate. It was on board his boat that Pugin made the design of a brass throne for the House of Peers. 170 Mr. Stuart Knill 71 came often; he was much younger than Pugin and "was all right" meaning a fervent Goth. He had lived in Cologne and was a mine of German legends, and Christian thought. Later on, through Pugin's marriage with his cousin, he became a staunch aid in times of trouble and encourager of the younger Pugin's work. Ambrose Phillips de Lisle.172 He and Pugin thought alike about "Corporate Reunion", then the hope of many earnest men both Catholic and Anglican. The "Tracts"'73 had shaken Protestantism to its roots. Both were sanguine converts, knowing many who lacked their own courage or did not see so clearly. Both were well read in the history of the Reformation and the lives of its leaders. Pugin was most outspoken, "The true story has yet to be told, the people of England were tricked out of their Faith." "Good works can only be done by good men, not bad." "Some day I will tell the real facts if I live". They talked till midnight. Pugin's gratitude for his own conversion was always on his lips, telling his children how happy they were "in being born in the Church". Stanfield174came on a "Jacks-alive" day and rang the Front door bell, the sound of which always irritated Pugin, (and was in fact strictly forbidden to the Household) he shouted "Don't let that fool in!" and rushed to bolt the front door of the Hall, but too late, and there stood his friend "rigged out" for a night's sail for sea-effects. In a moment he had him by both hands, dragged him into his library, and the two lovers of the sea had a 'PUGININ HIS HOME' I93

"good time". Stanfield in his fun apologised for having injured two maids in fighting his way in. Bishop Amherst175used to come and enjoy the Catholic atmosphere of St. Augustine's and Pugin's rare books and talks with him after all the rest were gone to bed. Myers sometimes came and stayed a day or so, to get urgent drawings made; he was a man after Pugin's heart, full of energy. He was foreman of masons at Hull in some work being done at Holy Trinity Church, and, when one of them could not understand some sectional drawing, taking up a mallet and chisel with a few strokes he chipped it out. This was enough Pugin invited him to Town to be his builder. 176 They both had keen appetities, but Pugin complained that Myers "was a maelstrom," with which he was ashamed to travel "causing a dearth of provisions wherever he went". Myers had a profound respect for the genius of Pugin, following his instructions with fidelity. Besides such personal friends many of the Catholic Bishops, Clergy and gentry who were especially interested in the Mediaeval Revival used to come to St. Augustine's - the Earl of Arundel,177 Sir John Sutton,178 Mr. Stonor, de la Barre Bodenham, Leigh of Woodchester,179Francis Whitgreave, etc. etc., besides many who were foreigners.

Building his Church To "build a Church out of his own earnings" was the one ambition of his life, which he never laid aside. 180 First he had to secure a piece of land "alongside". He groaned when a row of houses was built leaving only just enough space to "cram in" his Church and was radiant the day the papers were signed. He tried hard to get leave to break the sea-frontage-line, and place his Chancel due East "to get the daybreak Sun", but failing he was obliged to put up with the North. Then year by year he collected materials, "paying down" that no debt might accumulate, every large order meant "another cargo of stone from Whitby", and while on its way, every gale of wind made him anxious. "Think of that harbourless coast line, and good oak and flints". Next he secured a skilful flints napper; at last the foundations were laid, the ground plan being the only drawing he made.181 The school was built first, to be used as a temporary church.182 Then the Church grew up, slowly, year by year, many times stopping for lack of funds. And as he never bargained about materials or labour, but "all must be of the best", the process was costly. When the roof was on and the Bell chamber of Tower reached he said, "I shall never live to see the Cross on the spire"; work was falling off, so he strengthened the scaffolding round the tower and left it "for a rest". But a great gale one morning so strained the ropes there was danger of its falling through the roof. So the Crew of the Caroline were brought up in haste, the spare tackle got out and "all hands worked as if saving life" until many warps were made fast in the Garden and danger over. 183 St. Augustine's is a thorough Thanet Church, a natural growth of the locality, of flints from the chalk cliffs, all "napped" to look precious, a sound local stone for windows, piers and coignes was not to be found, so Pugin brought from Whitby the stone he had always admired at the ruins of St. Hilda's Abbey. The Church grew into what it is, not in his ordinary way of estimated drawings, but fashioned by his mind as it advanced stage by stage. It is full of poetry and expression, I94 ARCHITECTURAL HISTORY 31: I988

though small, and Pugin is seen in it at his best, "because free". He told his son Edward "I am giving you the best architecturallessons I can;184watch the Church, there shall not be a single "true principle" broken." When reproached for causing people to knock their heads by the low lintels of Cloister and Church doors'85 he said, "The Faithful ought not to mind bending their heads when they enter a church; sightseers and heretics must take their chance". When carped at for putting a fifteenth century oak screen into a fourteenth century church (The Norfolk screens had always been favourites) answered "Now, if I had put in a thirteenth century one they would have had more reason for blame". As soon as the Church and Buildings were completed as far as he thought possible, he made all over to the Bishop of the diocese, 186reserving only the Chantry for his Family.

End

Some of his family had been warned by his doctor, Daniels that there must be the inevitable end of such a long mind-strain; and the sad day came when he said "I must go out to that Brig in a boat, they will all be lost" when the ship was in fact past danger. Then came exaggerations of some of his natural characteristics, especially charity, giving cheques to beggars, and the fatal sign, - praising his own work. His doctor got him to London with his son Edward to see if change of thought could do him good. 187 He spent two or three days with Myers there seeing all that remained of Mediaeval London which he knew so well, St. Bartholemew's, the Charter house, St. Etheldreda's, streets and alleys known to few; but, during the nights, "making designs that were urgent". These drawings possess tragic interest full of genius showing the Master's power was only distraught. The advice of skilled Physicians was obtained, and the result, no good. Then Mr. Glenie, an Anglican convert friend took a house with his brave young wife, rejecting all timid counsels lived there to try if her having care, the study of every fancy, daily drives in the country air and entire change of thought and scenes could be of use. 88But it was all too late, the sad end was approaching. As the mind-mists cleared, bodily-prostration set in; he reached St. Augustine's alive, but in a few days faded away into the sleep of death, on the Feast of the Exaltation of the Holy Cross (planted within sight by his Patron Saint in the Island),189Sept. I4th A.D. 1852. The solemn Requiem he had so often sung in trumpet tones over others, was now sung over himself, by lovers of it and dear friends, and he was the first to lie in the Chantry he had with pious forethought built for his family resting place. R.I.P.

Flag half mast high Pugin was dead. The strong fighter in a Christian cause had laid down pencil, pen and brush at the age of thirty-nine, 190into which truly he had crammed the work of eighty, a life full of disappointment at "the little work done", hammering away at people who would not understand, but loved by all just so much as they knew him; happy in his Sea-side home with its simple pleasures and at having raised another Church in Thanet to God's honour. To know him intimately now, one must go to his Church-Tomb. There in stone, oak, iron, and glass the inner spirit of his genius lives - Faith and Truth. 'PUGIN IN HIS HOME' I95

ACKNOWLEDGEMENTS I am extremely grateful to MargaretBelcher for her help in establishingthe text, for her advice with the footnotes, and for the immense benefit that she has bestowed on all Pugin scholarsby her book, A. W. N. Pugin:an annotatedcritical bibliography. I would also like to recordmy sincere thanksto Dom Bede MillardOSB for much generoushospitality at Ramsgate,in the Grange, the Church and the Abbey, and to Miss Poyser at the WestminsterDiocesan Archive. Fig. I RIBA, British ArchitecturalLibrary Figs 2 and 5 Trustees of the Victoria & Albert Museum Fig. 6 St Augustine's Abbey Figs 7 and 8 Royal Commission on HistoricalMonuments (England)

NOTES Abbreviations Belcher M. Belcher, A. W. N. Pugin:an annotatedcritical biblography (1987) Ferrey B. Ferrey, Recollectionsof A. W. N. Pugin andhisfather Augustus Pugin (1861) Wedgwood 1977 A. Wedgwood, The Pugin Family (1977) Wedgwood 1985 A. Wedgwood, A. W. N. Pugin and the Pugin Family (1985) I The word in the original text is 'italics'. 2 In the original text there follows here a list of fifteen chapters. These correspond approximately to the sub-headings which appear here, but there are fewer chapters given in the list and they are in a slightly different order. 3 Pugin's house which he built in 1843 is now known as the Grange, but he addressed letters to 'S. Augustins, Ramsgate', and it appears to have been commonly called St Augustines in his lifetime. No doubt in full it was St Augustine's Grange. 4 Powell is mistaken in the implied date of 1842. He probably arrived at Ramsgate shortly before Christmas 1844. See also the introduction. 5 Edward Pugin (I834-75), Pugin's eldest son who became an important architect. 6 Anne Pugin (I832-97), Pugin's first child. She married J. H. Powell on 2I October 1850; they had seven daughters and five sons. 7 Miss Greaves was probably staying at the Grange from the autumn of 1844 to spring I846. At one time she expected to become the third Mrs Pugin (Belcher, p. 4I3). 8 All the fittings, vestments, and plate from the Chapel at the Grange, except the stained glass, are now in the church of St Augustine next door. The two-light east window contains St George and two angels in the tracery with St Augustine and Pugin and St Gregory with Louisa and three daughters below. The two-light south window contains St Edward with Edward Pugin and St Cuthbert with Cuthbert Pugin. In I988 the glass has been removed for restoration. 9 Agnes Pugin (1836-95). She married L. F. Peniston and they had a son and four daughters. Io Cuthbert Welby (I840-1928). He never married and lived most of his life at the Grange. I I Katharine ( 841-1927). She married Dr Austin Meldon of Dublin and they had two sons and two daughters. I2 Mary (I844-1933). She married the Irish architect, George Coppinger Ashlin, and they had one daughter. 13 The niche and statue have gone from the hall, but perhaps the niche survives in the sacristy of the church. The floor is covered with Minton tiles. The railing to the stairs survives and is both unusual and delightful. 14 There is one sea-locker beside the fire. The shields on the cove, apparentlyof enamel, have been stolen. There are two two-light windows with, in one window, the arms of Towers and Knill, and in the other, Pugin and Welby. 15 The Drawing Room was immediately to the right on entering the house. The room was altered by E. W. Pugin who extended it and made it his office. The ceiling has also been altered, probably in the I95os. The three-light mullioned west window survives with its glass. The roundel with the plan of the Isle ofThanet marking twelve old churches is in the centre between a roundel of St Peter and one of the Virgin and Child. The roundels are set among quarries of foliage and martlets. There is also a panel to St Barbara, the patron saint of architects above the door to the garden. i6 The Library, where Pugin worked, is on the garden front, looking south-east. This room after Pugin's death became the drawing room. The three-light west window contains three roundels of Netherlandish glass ofc. 1500 with Old Testament subjects. It is set in quarries containing Pugin's monogram. In the oriel window are roundels of Kentish Saints, Saints Augustine, Anselm(?), Thomas Becket, and Dunstan, which are set in quarrieswhich also contain Pugin's monogram. 17 The friends shown are Hardman, Benson, Amherst, Shrewsbury, Scarisbrick, Scott-Murray, and Sutton. I96 ARCHITECTURAL HISTORY 31: I988

18 Pugin is known to have had martlets on his wallpaper in the dining room, the drawing room and Mrs Pugin's room, on some ceilings, on curtains in the dining room, the library and the parlour (presumably the drawing room). They were also on tiles, fireplaces, furniture, the candlesticks, and numerous picture frames (Wedgwood, 1985, pp. 232-34, p. 325). 19 Augustus Charles Pugin (c. I769-I832). He was born in France, probably Normandy, and various stories are told of his escape to England during the French Revolution (Ferrey, p. 2). 20 A. C. Pugin was employed as a draughtsman by John Nash and by 1820 had set up a flourishing school of architecturaldrawing (Ferrey, pp. 2-20; Wedgwood, I977, pp. 9-IO). 21 In the original text there follows unpaginated addenda inJ. H. Powell's hand, largely repeating the description of the garden. 22 Louis Acquerone or Aquaroni (c. I795-I850?) was an Italian priest. Pugin noted his arrival at Ramsgate in his diary on 20 December 1844 (Diary, Library, V & A). He became professor of Italian at Oscott College in 1846. 23 Mary Holmes (I8I5?-78) is mentioned in Pugin's diary on 22 March 1847. 24 John Henry Newman (1801-90), the future Cardinal. Pugin first met him in Oxford in 1840 and he provided the illustrations to the Lives of the English Saints, which Newman edited from 1844-45. He was delighted by Newman's conversion to Catholicism in 1845, but was soon deeply disappointed by Newman's sponsorship of the Oratorians and Italianatearchitecture. 25 St Mary's College, Oscott, near Birmingham, was a RC school and seminary. Pugin first went there in March 1837, and it proved to be the crucial meeting place for his first Catholic patrons and it was from here that his influence spread rapidly through the Catholic Church in England. 26 Several similar railway stories are told (Ferrey, p. 98). 27 Pugin's unusual clothes clearly marked him out and were often commented on (Ferrey, pp. 98-99). 28 In the original text there follows unpaginated addenda inJ. H. Powell's hand, containing rough notes about Edward and pets. 29 This happened in 1849 and is described in the journal ofJane Pugin. (MSS in a private collection; microfilm in House of Lords Record Office, Historical Collection No. 339.) 30 This happened on 18 December 1845 (Diary, Library, V&A). 31 Peter Paul Pugin (I851-1904), his youngest child, became an architect. 32 Edward Irving (I792-I834), a minister of the Church of Scotland, who came to the Caledonian Chapel in Hatton Garden, London, in 1822 and drew great crowds to his sermons. Ferrey describes this youthful experience in detail (Ferrey, pp. 43-44). 33 It is most surprising that Pugin never mentions the work of the greatest sea painter of his day, J. M. W. Turner. 34 A word is missing in the original text. 35 Pugin bought his boat on 21 February 1849, (Diary, Library, V&A). A hoveling boat is the craft used by an unlicensed pilot or boatman, especially on the Kent coast, often for going out to wrecks (OED). 36 This is probably the correct account of Pugin's early ship-wreck to which Ferrey mistakenly attributes his first meeting withJ. Gillespie Graham, the Scottish architect (Ferrey, pp. 62-63). 37 Contrasts:or, A ParallelBetween the Noble Edificesof the Fourteenthand Fifteenth Centuries, and similar Buildings of the PresentDay; showing the PresentDecay of Taste: Accompaniedby appropriateText was published privately in Salisbury on 4 August 1836. 38 In the sense of'convert'. Pugin became a Roman Catholic on 6June I835. 39 Pugin worked extensively at St Mary's College, Oscott, from 1837, also at St Cuthbert's College, Ushaw, from I840 and at St Edmund's College, Ware, from 1845. 40 John, sixteenth Earl of Shrewsbury (1791-I852), was Pugin's principal patron. He was a Roman Catholic and employed Pugin extensively from October I836 both on church commissions and on his estate at Alton Towers in Staffordshire. 41 Pugin, especially towards the end of his life was as much occupied with the applied arts as he was with architecture. 42 Pugin had a particular hatred for this kind of event and enjoyed satirizing it (Wedgwood, 1985, p. 159). 43 John Milner (1752-1826) RC Bishop of the western district. He wrote a pioneer work on the medieval period, The History, Civil and Ecclesiastical,and Survey of the Antiquitiesof Winchester,I798-I80I. Milner built the RC Chapel of St Peter at Winchester in 1792 withJohn Carter as architect. Partly to Milner's design, it anticipated both in the gothic style and reuse of medieval fragments much of Pugin's approach. (Information from Dr R. O'Donnell.) 44 The RC Cathedral of St Chad, Birmingham. 45 Pugin was most unusual at this period in not having an office. J. H. Powell was the nearest he ever got to having a clerk. This was all the more surprising given the great number of small commissions in the applied arts executed by Pugin. 46 It is true that few of his architectural drawings have survived compared with, for example, those of Charles Barry and G. G. Scott. 'PUGIN IN HIS HOME' I97

47 Pugin's diaries for the years 1835-42, 1844-45, and I847-51 are in the Library of the Victoria and Albert Museum and have been published in full in Wedgwood 1985. His account books do not seem to have survived. 48 George Myers (1804-75) was Pugin's principal builder. 49 This was Pugin's common practice and he did it for his other colleagues, John Hardman andJ. G. Crace, and also at the Thames Bank workshops, for the carpenters working at the Houses of Parliament. 50 Speed was one of Pugin's chief attributes and it characterizedall his work. 5 The Chapel of St Edmund's College, Ware, built from 1845, substantially finished in 1848, finally opened in 1853, was particularly grand with a splendid rood screen. 52 Perhaps Powell is referring to the stained glass in the east window of the south aisle in the parish church of St Mary, Oxford. 53 Perhaps Powell is referring to the chapel of the Convent of Our Lady of Mercy, Handsworth. The drawings that he talks about do not seem to have survived. 54 Pugin made a substantial number of these kind of illustrations, which have most usefully been listed in Belcher, pp. 137-54. 55 Pugin certainly worked at Covent Garden between 1829 and 1831. Most information about this period comes from his unfinished autobiography, now in the Library of the Victoria and Albert Museum (Wedgwood, 1985, pp. 28-30). 56 The ballet Kenilworthwas performed at the King's Theatre, with choreography by A. J.J. Deshayes and music by Costa in March 183 Ii Pugin states in his autobiography 'for this ballet I painted 2 scenes: the interior of Cumnor Place and Greenwich Palace with the exception of the back cloth by Mr. W. Greive. I likewise furnished documents for costume and other scenes of the ballet.' (Wedgwood, 1985, p. 28). 57 See, for example, sketchbook, catalogue I04, in the Victoria and Albert Museum (Wedgwood, i985, pp. 123-27). 58 E.-E. Viollet-le-Duc (1814-79) the leader of the Gothic Revival in France. Powell is no doubt thinking of the splendid illustrations in his great Dictionnaireraisonne de l'architecturefrancaise,1854-68. 59 William Dyce ( 806-64). At the Houses of Parliament he painted the Baptism of King Ethelbert in the House of Lords, 845-46, which was the first fresco, and in 1847 he was commissioned to paint the Legend of King Arthur in the Robing Room. This proceeded very slowly with the first panel completed in 185 I but the series was incomplete at his death. 60 J. R. Herbert (18Io-90). He was a close friend of Pugin (see below n. 166). At Westminster he painted a fresco of a subject from King Learin the Upper Waiting Hall between 1848-50. Then he was commissioned to paint the pictures in the Moses Room. This time using waterglass painting on plaster, Herbert painted 'Moses Bringing Down the Second Tables of the Law' between 1858 and 1864. This painting was enthusiastically received, and gave its name to the room. Herbert then painted in oil, 'TheJudgment of Daniel', which was finished in x880.This series is incomplete. 61 J. E. Millais (1829-96). He exhibited 'Isabella'in the Royal Academy in 1849. The picture, which is now in the Walker Art Gallery, Liverpool, is signed P.R.B., for Pre-Raphaelite Brotherhood. It is most interesting that Pugin appreciated this important painting. 62 In the original text there follows unpaginated addenda in J. H. Powell's hand, containing a paragraph about Pugin's mouldings. 63 See particularly S. Ayling, Photographsfrom Sketchesby Augustus WelbyN. Pugin, 2 vols, 1865, Wedgwood, I977, pp. 89-109, and Wedgwood, 1985, pp. 281-99. 64 Pugin exhibited four watercolours in the Royal Academy in 1849. Powell has forgotten about 'No 1013 New dining-hall, now erecting for the Rt. Hon. The Earl of Shrewsbury, at Alton Towers.' 65 This picture surivives in a private collection (Fig. 3). 66 Powell is mistaken about the date. The two scrolls are in the border at the bottom of the picture; one says 'The church was begun' and the other 'in the year of our Lord MDcccxLvI.' By 1849 a considerable part of the church was built. 67 The spire was never built. The drawing survives at St George's Southwark. 68 At Bilton Grange, Rugby, Pugin made extensive additions and internal decoration to an existing building. He found Captain Hibbert a most difficult client. 69 There was a critical review of his exhibits in the Ecclesiologist(Belcher, pp. 260-61). It seems possible that Pugin's work was skied. The ArtJournal, XI (I849), 176, states: 'In the Architectural Room are also some oil pictures and water-colour drawings of great merit, but many of them are distant from the eye, in so much as to render description difficult'. 70 J. H. Foley (1818-74), the sculptor, was elected Associate. 71 George Cruikshank (1792-1878), the caricaturist. 72 HenryJames Townsend (I8Io-66), the history painter, illustrator and etcher. 73 David Charles Read (I790-I85i), the painter and etcher, who lived at Salisbury between 1820-45 and knew Pugin. I98 ARCHITECTURAL HISTORY 31: I988

74 An Apologyfor the Revival of ChristianArchitecture in England,1843. For a description of his work for this book, see his letters to Weale, the publisher (Belcher, pp. 70-73). 75 K. M. Geerts (1807-85), a sculptor and Professor at the Academy of Louvain. Pugin mentions a dinner with him in Ostend on 3 July 1844 (Diary, Library, V& A). 76 Stained glass was an important element in Pugin's churches and he tried several workshops before persuading Hardman to set up his own glass-works in the autumn of I845. He had previously used Thomas Willement (I786-I871), principally at Alton, William Warrington (1796-1869), especially at Oscott and St Mary's Derby, and finally William Wailes (I808-81), who worked for him extensively between 1841 and 1846. 77 Pugin's Cartoon Room, next to the entrance wall at the Grange, still survives though altered. Powell wrote a useful account of 'The art of stained glass in Birmingham' in The resources,products and industrialhistory of Birminghamand the Midlandhardware district, ed. by S. Timmins (1886), in which he mentions several of the young men who came to Ramsgate (Belcher, p. 322). 78 FrancisWilson Oliphant (I818-59) was for a time chief draughtsman for Hardman. He had previously worked for William Wailes. 79 The cartoons for the stained glass in the House of Lords Chamber were made by Oliphant, but, apart from a sample by Hardman, the windows were made by the Edinburgh firm of Ballantine and Allen between 1847 and 1850. Only the sample window now survives and in 1987 this was placed in the Peers' Dining Room. 80 This statement is borne out on many surviving cartoons. 8I Charles Barry (I795-I860) won the competition for building the New Houses of Parliament in April 1836;the foundation stone was laid in April 1840, and the building, probably the largest commission of the century was incomplete at his death. 82 Pugin helped Barry with his competition drawings in the autumn of 1835; he designed and executed between 1836 and 1837 the drawings from which the estimate for the building was prepared;from September 1844 until his death he designed internal decoration and fittings. 83 In December 1844 Pugin received an official appointment to superintend the works of wood carving at the New Palace. (PRO Works 1/27, p. 3 18). 84 John Thomas (I 8I 3-62) was superintendent of all the stone carving. 85 The stained glass, with the exception of that in the House of Lords Chamber mentioned above, and the metalwork were entirely manufactured byJohn Hardman. 86 The encaustic tiles were entirely made by Herbert Minton (1793-1858), a close colleague of Pugin. 87 The wallpapers and internal painting were carried out by John Gregory Crace (I809-89), another close colleague. Barry certainly had the final word with all this decorative work. 88 There is a delightful description by Charles Barryjunior of a visit to Ramsgate on 26 October 1846. (MSS diary in a private collection; microfilm in the HLRO). 89 Powell'sjudgement here is very sound. 90 This might refer to the designs for the throne canopy, about which Pugin and Barry had quite different ideas (A. Wedgwood, 'The throne in the House of Lords and its setting', ArchitecturalHistory, xxvII (1984), pp. 59-73). 91 This perceptive remark is an addition inJ. H. Powell's hand on an unnumbered page. 92 Jane Pugin was granted a Civil List pension of?Ioo per annum on 2 SeptemberI852. In the published list (HC I852-53 (682), LVII, p. 353) it states: 'Wife of R. (sic) Welby Pugin, Esq. In consideration of her husband's eminence as an Architect, and the distressed situation in which his family are placed, from his inability, in consequence of illness, to pursue his profession. In trust toJohn Hardman, Esq., andJohn Knill, Esq.' It continued until her death. 93 The phrase about the statue on the Albert Memorial is an addition inJ. H. Powell's hand on an unnumbered page. There is a story that Pugin has only given a place on the Albert Memorial following G. G. Scott's intervention (M. Trappes-Lomax, Pugin (1932), p. 355). 94 Twenty-five years ago was approximately the time of Ferrey's biography (1861) and the great Houses of Parliament controversy (1866-67) between Barry's sons and E. W. Pugin about their fathers' respective contribu- tions to the building. By 1889 the Gothic Revival in public buildings had run its course and been replaced by the 'Queen Anne style'. 95 Pugin was an excellent letter-writer and large numbers of them have survived. An edition of them by Margaret Belcher is in preparation. 96 RC Church of St Mary, Derby, built between 1837 and 1839 may be considered Pugin's first large parish church. 97 RC Cathedral of St Chad, Birmingham, was built between 1839 andI941. It is unusual, both the material, red brick, and the style, being that of fourteenth-century Baltic Germany, where brick facing, two west towers with spires and eastern apses are common features. Powell shows his deep affection for this, his parish church. 98 RC Cathedral of St Barnabas, Nottingham, was built from 1841 to 1844, with Lord Shrewsbury as chief benefactor. 99 RC Chapel at Ackworth Grange, Pontefract, for the Tempest family, built 1841-42, and unfortunately demolished. 'PUGIN IN HIS HOME' 199

oo00RC Church of St Giles, Cheadle, was built between I840 and I846 at the expense of Lord Shrewsbury. IoI In the original text there follows an unpaginated addendum in J. H. Powell's hand, about 'St. Anne's Liverpool' (perhaps in mistake for the RC Church of St Mary, 1844-45, rebuilt) and the RC Church of St Augustine, Kenilworth of 1841. I02 RC Cathedral of St George, Southwark, was built with great financial difficulties between 1841 and 1848. It has been virtually rebuilt following major damage in the Second World War. 103 RC Church of St Augustine, Ramsgate, was built at Pugin's own expense. I04 These designs, dated 1839, are in the Oscott College Archive. 105 Perhaps Powell means the RC Church of St Marie, Ducie St, Manchester, for which the designs of 1837-38 survive. (Wedgwood, 1985, pp. 229-31). Io6 Probably Powell refers to Pugin's designs of I849 for the RC Cathedral of St Mary, Edinburgh. This paragraphon unexecuted work is an addition on an unnumbered page inJ. H. Powell's hand. 107 RC Cathedral of St Mary, Killarney, was built between 1842 and I849 when the famine halted work. The cathedral was continued byJ.J. McCarthy from 1853 to 1856 and completed by G. C. Ashlin and T. Coleman in I912. Io8 This collection survives in private hands, and is at present on loan to the Birmingham City Museum. This paragraphis an addition on an unnumbered page inJ. H. Powell's hand. I 9 Criticism of the cleaning and substitution of glass byJ. P. Hegeland in the windows of the chapel of King's College, Cambridge, began in I849. 11 Pugin wrote his opinions on the Calvinist, the Pagan, the Revolutionary and the Modern Ambonoclasts in his Treatiseon Rood Screens(1851), pp. 76-99. I I I It is true that very few letters to Pugin exist. A few letters from Lord Shrewsbury have survived in a private collection (microfilm in the HLRO Historical Collection No. 339). I 12 Powell has underestimated; more than I,Ioo letters from Pugin to Hardman survive in a private collection (microfilm in the HLRO Historical Collection No. 304) and also in Birmingham City Museum (microfilm in HLRO). 113 In the original text this paragraphfollows inJ. H. Powell's hand on an unnumbered page. 114 Powell is referring to the Medieval Court at the Great Exhibition of I85I. 115 The Medieval Court received much praise, particularly in the Reportsof theJuries (I852), in the perceptive 'Supplementary Report on Design' by Richard Redgrave, pp. 708-49. I 6 In the original text this paragraphfollows inJ. H. Powell's hand on an unnumbered page. 117 Pugin had considerable knowledge of medieval wood carvings and acquired many fine pieces. See the sale catalogue of Sotheby and Wilkinson for I2 February 1853. 118 In the original text this paragraph follows inJ. H. Powell's hand on an unnumbered page. 119 In the original text this paragraphfollows inJ. H. Powell's hand on an unnumbered page. 120 'Catholic Town in 1440' appears in the second edition (1841) of Contrasts;Chichester Cross is contrasted with King's Cross, Battle Bridge; Redcliffe Church, Bristol, is contrasted with All Souls Church, Langham Place, all in the first edition of 1836. 12I Details ofAncient TimberHouses of the 15th& 16thcenturies (1837). 122 St John's Hospital Alton appears on plates 5 and 6 andJesus Chapel near Pomfret as plate 9, in On the Present State of EcclesiasticalArchitecture in England.Article the Second,from the Dublin Review, xxiII, February I842. I23 An Apologyfor the Revival of ChristianArchitecture in England(I843). Plate x is 'Church Furniture revived at Birmingham' and the famous frontispiece shows all the churches and chapels designed by Pugin in one perspective. 124 The first sixteen plates are wood-engravings, the second sixteen are steel-engravings. 125 The wood-engravings ofViollet-le-Duc's Dictionnaireare particularly fine. 126 Charles Barry frequently used this method of making quick copies of architectural drawings. The print appears in reverse. 127 In the original text this section follows inJ. H. Powell's hand on unnumbered pages. 128 The original manuscript is confused here. 129 Pugin invariably put a rood screen in his churches between the chancel and the nave. From 1848, however, and particularly in connection with the RC Cathedral of St George, Southwark, and the RC Church of St Thomas of Canterbury, Fulham, there was strong criticism of such screens by Catholic writers. Pugin's final book was a justification of his practice, A Treatiseon ChancelScreens and Rood Lofts (185 I). Pugin's ideas have not prevailed, however, and rood screens are still being removed from his churches. I30 This appears to refer to Ruskin's famous criticism of St George's Southwark and its 'eruption of diseased crockets' in The Stonesof Venice. Volumethe first: The Foundations(I85I). I 3 I Glossaryof EcclesiasticalOrnament and Costume(1844, second edition 1846; third edition 1868). 132 Pugin went to Italy in I847. He arrived in Livorno on 23 April and travelled around visiting Rome, Florence, Venice, Milan and crossed the St Gothard Pass on 5 June. 200 ARCHITECTURAL HISTORY 31: I988

133 Not many seem to have survived in public collections (Wedgwood, 1985, p. 294). 134 This section does not exist in other versions of the MSS. From the numbering of pages in the MSS in a family collection, however, it is clear that it was copied and then for some reason removed. 135 Anne Pugin (I 8I I?-3 2). Most of our information about her comes from Ferrey, who probably knew her well. (Ferrey, pp. 68-69). 136 She died on 27 May 1832. Her daughter, Anne (1832-97), marriedJ. H. Powell. 137 E.J. Willson (787-I854) a Roman Catholic architect in Lincoln. He was a friend ofA. C. Pugin, with whom he collaborated on Specimensof GothicArchitecture. He claimed that he was responsible for Pugin's coversion. 138 This story, plusJ. H. Powell's part in it, is repeated in M. Trappes-Lomax, Pugin, p. 36). 139 According to Ferrey, Pugin as a young man thought of living at Christchurch and that is why he buried his wife there. (Ferrey, pp. 69-7I). In a letter to E.J. Willson, however, Pugin says that it was Anne's 'last wish' (Belcher, p. 472). 140 Louisa Burton (?-I844) married Pugin in I833. Very little is known about her. 141 This information only comes from Powell, and he may be confusing Louisa with Anne, who was a relation of George Dayes. In Pugin's early autobiography he says that Dayes was for a time attached to Covent Garden Theatre and introduced him there (Wedgwood, 1977, p. 27). On the other hand, it is quite possible that both wives had theatrical connections. 142 Pugin lived at 42 Cheyne Walk from 1841 to September 1844. He had previously had lodgings in Chelsea with a Mrs Avery. (Diaries, Library, V&A). 143 Contrastswas published in Salisbury. Powell did not know Pugin at this period and often makes mistakes. 144 Edward was born at Ramsgate, Agnes at Salisbury, Cuthbert at Ramsgate, Katharinein London and Mary at Ramsgate. (Diaries, Library, V&A). 145 Louisa died suddenly 22 August I844. 146 Louisa's funeral, on 30 August, was an elaborate event. (The Tablet (1844), p. 580; information from Dr R. O'Donnell). 147 Mary Amherst (1824-60) was the sister of Francis Kerril Amherst, the future Bishop of Northampton, who was a friend of Pugin (see below n. 175). Pugin proposed to her on o November 1844 and did not give up all hope of marrying her until she finally became a nun in May 1846 (Diaries, Library, V & A; Anon., Life of MotherMary Agnes Amherst(I927), pp. 15-I6, information from Dr R. O'Donnell; Belcher, pp. 412-13). 148 Helen Lumsden was a Scottish Protestant whom Pugin met while she was visiting her aunt, Mrs Benson, a neighbour of Pugin at Ramsgate in 1846. He proposed to her on 26 November 1847 and they became engaged on 25 January 1848, but the affair ended in disaster in March following her parents' implacable opposition to Helen becoming a Catholic (Diaries, Library, V&A. His letters to Miss Lumsden survive in a private collection, microfilm in the HLRO Historical Collection No. 339). I49 Pugin wrote a pamphlet, A Statementof Facts, which he printed for private circulation. No copy is known to survive, but much of the text is printed in Ferrey, pp. 193-222. I50 Jane Knill (1827-1909). 151 In the original text this section is preceded by a list of the eighteen friends about whom Powell writes, with numbers given beside them, apparently suggesting that they are given in a quite different order. 152 William Etty (1787-I849) the painter. It is perhapsa surprisingfriendship. Etty had considerablesympathy with Catholicism. Etty described his stay at the Grange, Ramsgate inJuly 1846 in a letter to his niece (Library, V & A). 153 John Lambert (I815-92) was a solicitor in Salisbury and prominent in local politics. 154 Pugin built his own house, St Marie's Grange, at Alderbury, near Salisbury in I835. It was his first significant building. 155 RC Church of St Osmund, Salisbury, I847-48. Lambert was a major donor. 56 Bernard Smith (18I 5-1903). He was a Fellow of Magdalen College, Oxford, where Pugin met him. He was an Anglican priest at Leadenham, Lincs, until 1842 when he entered the Catholic Church. Pugin and he must have collaborated closely during 1843 on the text of the Glossary, for which Smith produced much valuable scholarly work. 157 DrJames Daniel was clearly a good friend and Pugin designed things for him (Wedgwood, 1985, p. 234). I58 Father Thomas Costigan (1788-I860) sometimes celebrated mass in Pugin's church. I59 RC Chapel at Prospect Palace Margate was built between I80o and 1804, and had a west gallery (Laity's Directory, 1804). It was considerably altered in the second half of the nineteenth century (Information from Dr R. O'Donnell). I6o Thomas Talbot Bury (1811-77), an architect. 16i He was a pupil ofA. C. Pugin from 1827 to I832 and therefore knew the young A. W. N. Pugin well. Unlike Ferrey he remained a lifelong friend. He wrote an important obituary of Pugin and criticized Ferrey's biography for inaccuracy (Belcher, pp. 286-87 and 305-07). 162 Catherine Welby (?-I833), Pugin's mother, has had a bad press from the young men who were pupils to her husband (Ferrey, pp. 26-28, 43-47). 'PUGIN IN HIS HOME' 20I

163 A. C. Pugin was in fact generous in acknowledging his pupils' work. Many plates in his publication are signed 'A. Pugin Archt. dirext T. T. Bury delt.'. 164 A preliminary drawing for this survives in the Drawings Collection of the RIBA (Wedgwood, 1977, p. 27). It seems likely that the finished drawing at one time belonged to J. H. Powell but its present whereabouts is not known to this editor. 165 These illustrations are on pages 23 and 24 of Pugin's The True Principlesof Pointedor ChristianArchitecture (1841). 166 J. R. Herbert (81 o-90), the painter (see also n. 60). He became a Catholic through Pugin's influence. Pugin's designs for furniture for him are in the V&A Museum (Wedgwood, 1985, p. 202). 167 The portrait was painted in 1845 and is the best known of Pugin's portraits. It has been engraved and frequently exhibited and illustrated. It now belongs to the House of Commons where it hangs in the 'Pugin Room'. 168 John Hardman (I812-67),J. H. Powell's uncle and Pugin's closest friend from 1837. The family was Catholic and his father was a manufacturer of metal buttons in Birmingham. In I838 Pugin persuaded him to start making metalwork, particularly ecclesiastical, to his designs. In 1845 the firm started to make stained glass to his designs. Drawings for these projects and many letters from Pugin to Hardman survive (see notes Io8 and 112). 169 Henri Gerente (1814-49) came to England in I846 for the opening of St Giles, Cheadle. Also both he and his brother Alfred (1821-68) worked at Ely Cathedral. 170 The throne in the House of Lords is constructed of wood, gilded, with inlaid enamels and rock crystals made by Hardman. I7I John StuartKnill (I824-98) became a Catholic in 1844, Lord Mayor of London in 1892-93 and a baronetin 1893. 172 Ambrose Phillipps de Lisle (1809-78) was a convert to Catholicism and a major benefactor to Catholic buildings near his Leicestershire seat of Grace Dieu. He and Pugin thought alike on many subjects including rood screens. In the original text; a very similar second version appearsinJ. H. Powell's hand on an unnumbered page. 173 Pugin was greatly excited by the religious and also architectural implications of the Oxford Movement, which was led by a group of High Church Anglicans who published 'Tracts for the Times'. He expected, as did Phillipps, that it would lead to the reunification of the Churches of England and Rome. 174 Clarkson Stanfield (1793-1867), the marine painter. In the late I82os he was a scenery painter at Drury Lane which was probably where he met Pugin. 175 Francis Kerril Amherst (I819-83), bishop of Northampton and son of the donor of Pugin's Church of St Augustine, Kenilworth. See also n. 147. 176 George Myers (1805-75), the builder for many of Pugin's commissions. Several different stories are told about how Pugin and Myers met but all accounts agree that it was at Beverley (Ferrey, pp. 185-86). 177 Henry Granville Fitzalan Howard ( 8 5-6o), the Earl of Arundel and Surrey, from I856 the fourteenth Duke of Norfolk. In I839 he became a Roman Catholic and was a prime mover of the fund-raising and the eventual opening of St George's Cathedral Southwark. 178 SirJohn Sutton (I820-70) of the family of Lynford Hall, near West Tofts, Norfolk. Pugin's commission for the restoration of the chapel ofJesus College Cambridge came about through John Sutton. 179 William Leigh (1802-73), bought the estate of Woodchester Park near Stroud in I845. He commissioned Pugin to make plans for a new house, which Pugin did by early 1846. He withdrew, however, from the commission because he felt that Leigh was not prepared to spend enough money. The same thing happened with a church and monastery for the Passionists that Leigh asked Pugin to design in 1846. 180 Pugin began St Augustine's church and its associated buildings in 1846. It was unfinished at his death. Much documentary evidence survives (Wedgwood, 1985, p. 12I). 181 A few drawings exist for furnishings (Wedgwood, I977, pp. 72-73). 182 This is the building with a fine north window beside the road which now forms the east range of the cloister. The first public mass was celebrated here on Christmas Day, I846. I83 The great gale was on 25 November 1850. (Diary, Library, V&A). 184 The building of St Augustine's Church probably did constitute the major part ofE. W. Pugin's architectural training. 185 The wicket doors at St Augustine's Church are indeed tiny. They are not now generally used. i86 Pugin made over the land and buildings to the diocese of Southwark at the end of 1846. The church was mainly redundant until the Benedictine monks came to Ramsgate in I856 when it became their abbey church, though it also remains a parish church. 187 Pugin's final illness began at the end of February I852. I88 For an account of Pugin's final illness, see the journal of Jane Pugin (manuscript in a private collection; microfilm in HLRO Historical Collection No. 339) and a letter by E. W. Pugin in BlackwoodsEdinburgh magazine, February 1862. (Belcher, p. 3I7). 189 St Augustine landed at Ebbsfleet, about one mile west of Ramsgate in 597. I90 Pugin was forty years old at his death. Fig. I A. W. N. Pugin. Design in pen and ink for the completionof the churchof St Augustine, Ramsgate,1848

Fig. 2 A. W. N. Pugin. Bird's-eyeperspective view in pen and ink of the Grangeand the churchof St Augustine, Ramsgate,1848 Fig. 3 A. W. N. Pugin. Bird's-eyeperspective view in watercolourof his houseand his church,exhibited at the RA in 1849 (privatecollection)

Fig. 4 C. W. Pugin. Bird's- eye view in pen and ink ofthe Grangeand the churchof St Augustine,with the Benedictine monasteryin the background, 1873 (privatecollection) Fig. 6 Photographof the churchof St Augustine andancillary buildings, taken fom across the roadto the north-eastwhere St Augustine'sAbbey now stands, c. 186o

Fig. 5 A. W. N. Pugin. Designfor wallpaper for his own house, 1844 ,-n

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