Augustus Welby Northmore Pugin was born in 1812 and died in 1852. He crammed into his forty years of life as an architect, designer and writer more than a lesser man could have achieved in eighty. He supplied Barry, the architect of the new Palace of Westminster, with an endless stream of inventive, beautiful and useful designs for the new building, all in the Gothic style to which he was devoted, and of which he was the principal, and most inspired, exponent.

Born of a French father and an English mother, Pugin became a Catholic in 1835. At twenty-six years old, he had already been widowed and remarried for two years. In 1836 he published his celebrated 'Contrasts', a book which makes an extended comparison between the Gothic architecture which he loved and the buildings of the early nineteenth century which he deplored. A prodigiously-talented draughtsman and inventor of Gothic forms, he worked ceaselessly and died very young. The New Palace of Westminster is perhaps his greatest and certainly his best-known legacy.

There is nothing much to regret, and a great deal to rejoice in. A vast amount of Soane's mixtures and Wyatt's heresies have been effectively consigned to oblivion. Oh, it was a glorious sight to see his composite mullions and cement pinnacles and battlements flying and cracking... The old walls stood triumphantly amidst this scene of ruin while brick walls and framed sashes, slate roofs etc. fell faster than a pack of cards.
- Pugin (on the burning of the Old Palace of Westminster), Letter to E.J. Wilson, 6th November, 1834.

Additional Information on
Augustus Welby Northmore Pugin (1812-1852)

Augustus Welby Northmore Pugin was born in 1812 the son of a French father and an English mother. Through his father, Augustus Charles, Pugin learnt his celebrated skills of draughtsmanship. He is said to have had an excellent memory, perfect eyesight, a passionate and generous nature, and paid meticulous attention to detail. It is said that his personal rule was, 'a place for everything, and everything in its place'. In 1831 he married his first wife, Anne Garnet, though she died the following year. In 1833 he married his second wife, Louisa Burton, who gave birth to Pugin's first son, Edward Welby Pugin, a year later.

Following the major fire at the Palace of Westminster in 1834, Pugin began work for Charles Barry on the winning designs for the new building. Whilst working on designs for the interiors of the Palace in 1836 Pugin also published his celebrated 'Contrasts', a book which makes an extended comparison between the Gothic architecture which he loved and the buildings of the early nineteenth century which he deplored.

In 1837 Pugin began work on Alton Towers and Scarisbrick Hall. He was also appointed as 'Architect and Professor of Ecclesiastical Antiquities' at Oscott College. In 1841 Pugin's 'True Principles of Pointed or Christian Architecture' was published, to much acclaim. This was later used by John Ruskin as a foundation for his criticism.

However, the 1840's were the high point of Pugin's career and it was during this period that he refined his argument towards the revival of the Gothic ideal. His major works of this period directly exemplify this. Balliol College (Oxford), and The Grange and St Augustine's Church in Ramsgate are some distinct examples. Perhaps his finest work was his collaboration with Charles Barry on the interiors of the Palace of Westminster (particularly those in the House of Lords) which continued throughout the 1840's. Pugin supplied Barry with an endless stream of inventive, beautiful and useful designs for the new building, all in the Gothic style to which he was devoted, and of which he was, by this time, the principal and most inspired exponent.

In 1848 Pugin married his third wife, Jane Knill, whom he described as 'a first rate Gothic Woman'. In 1851 Pugin was appointed as the 'Commissioner of Fine Arts' for the Great Exhibition of that year.

Perhaps one of the most prodigiously-talented draughtsmen and inventors of his time, Pugin worked ceaselessly and died very young. He crammed into his forty years of life as an architect, designer and writer more than a lesser man could have achieved in eighty. The New Palace of Westminster is perhaps Pugin's greatest and certainly his best-known legacy. He died on September 14th, 1852.

QUOTATIONS

Pugin on Italian Architecture:
St Peter's is far more ugly than I expected, and vilely constructed... Bad taste of every kind seems to have run riot in this place. One good effect, however, results from these abortions: I feel grateful for living in a country where the real glories of Catholic art are being revived and appreciated.
- Letter from Rome, 1847

I am married. I have got a first-rate Gothic woman at last, who perfectly understands and delights in spires, chancels, screens, stained glass, brasses, vestments etc.
- Written to a friend on the eve of his third wedding.

There is nothing worth living for but Christian architecture and a boat.
- Pugin as quoted by contemporaries.

I have passed my life in thinking of fine things, studying fine things, designing fine things and realising very poor ones.
- On himself, Remarks on Articles in the Rambler.

Pugin is the Janus of the Gothic revival; his buildings look back to the picturesque past, his writings look forward to the ethical future.
- Kenneth Clarke, The Gothic Revival.

Those who never knew him may smile at his being able to fall in love again and again, but it is the truth. He was always young through pure vitality, and would be happy or miserable like a boy.
- J . Hardman Powell (Pugin's son-in-law) .

There was nothing speculative in his mind: all was practical. Yet he had a curious want of the sense of proportion in things. He would bear with patient resignation real troubles and griefs, but mere trifle would make him angry and unhappy.
- J. Hardman Powell.

Barry's touch was a careful, methodical 'quill pen', giving each form its distinct value. Pugin's was a brilliant 'steel pen' one, picturesque, suggestive and full of poetic glamour. Barry was not an etcher. Pugin was.
- J. Hardman Powell

I could never have done Charles Barry's work, but should have thrown it up in disgust in a few months.
- J. Hardman Powell

Pugin, with his inexhaustible fertility, poured out thoughts without hesitation or effort. The tie between him and Barry was their cordial admiration of the English development of Gothic, and their zeal to produce the finest National Works.
- J. Hardman Powell