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New Events announced
Head to our EVENTS page to view details of a July trip to Worcester Cathedral and the private collection of Pugin's great-great-granddaughter Sarah Houle. We've also announced details of the AGM which will feature speaker Paul Atterbury. We hope you'll join us at these events.
Head to our EVENTS page to view details of a July trip to Worcester Cathedral and the private collection of Pugin's great-great-granddaughter Sarah Houle. We've also announced details of the AGM which will feature speaker Paul Atterbury. We hope you'll join us at these events.
Amid the sadness surrounding the fire at Notre Dame, a dire warning for the Houses of Parliament
As The Pugin Society extends our sympathy to the people of Paris and those who treasure Notre Dame Cathedral, we recall how, in the autumn of 1834, Pugin watched the medieval Houses of Parliament burn to the ground. Pugin took great pleasure in the destruction of the contemporary elements of the building as added by Wyatt and Soane, which detracted from the “true principles” present in the original medieval structure. He would later go on to write that it was in fact “a glorious sight to see…composition mullions and cement pinnacles and battlements flying and cracking while…turrets were smoking like so many manufacturing chimnies till the heat shivered them into a thousand pieces.” We are certain, however, that he would have had a much different reaction to the recent fire at Paris’ Notre Dame Cathedral. As the son of a French emigre, Pugin made frequent trips to the continent to study architecture and he certainly set foot inside the cathedral, whose medieval gothic style he held in utmost regard. Even the contemporary additions to this building such as Viollet-le-Duc’s spire (completed after Pugin’s death) were in keeping with the medieval style that Pugin held so dear.
As The Pugin Society extends our sympathy to the people of Paris and those who treasure Notre Dame Cathedral, we recall how, in the autumn of 1834, Pugin watched the medieval Houses of Parliament burn to the ground. Pugin took great pleasure in the destruction of the contemporary elements of the building as added by Wyatt and Soane, which detracted from the “true principles” present in the original medieval structure. He would later go on to write that it was in fact “a glorious sight to see…composition mullions and cement pinnacles and battlements flying and cracking while…turrets were smoking like so many manufacturing chimnies till the heat shivered them into a thousand pieces.” We are certain, however, that he would have had a much different reaction to the recent fire at Paris’ Notre Dame Cathedral. As the son of a French emigre, Pugin made frequent trips to the continent to study architecture and he certainly set foot inside the cathedral, whose medieval gothic style he held in utmost regard. Even the contemporary additions to this building such as Viollet-le-Duc’s spire (completed after Pugin’s death) were in keeping with the medieval style that Pugin held so dear.
From L-R: The Palace of Westminster on Fire, 1834, by an unknown artist; the conflagration at Notre Dame,
15th April 2019; the Houses of Parliament today.
While we share in the sadness of the overwhelming destruction caused by the fire, we are also certain that the French people, the Catholic community, and lovers of art and architecture worldwide will ensure the cathedral is rebuilt. But we also cannot help but return to the similarity between Notre Dame and Britain’s structures of national importance, namely the new Houses of Parliament. As the flames destroyed its medieval precursor, Pugin saw an opportunity to create an even more impressive structure, and he and Charles Barry certainly delivered on that account. It seems, however, that almost two hundred years later we haven’t learned from the events that led to the initial destruction; or, more likely, that we willfully ignore these lessons from the past and set ourselves up for future devastation.
An eagle-eyed follower brought the article Fears for UK Parliament after Notre Dame Blaze to our attention, although it is a message of which we have been acutely aware for some time. Here the author states that “The Palace of Westminster could face a fire as devastating as the one that has ravaged Notre Dame unless major improvements are made to the crumbling building in central London.” An engineering marvel at its date of construction, the Houses of Parliament are now in desperate need of updating. Last year the members of parliament voted to leave the building so that renovations could occur, but this work is not set to start until the mid 2020s. Let us learn from the tragedy in Paris and ensure that national (and indeed, international) treasures such as the Houses of Parliament are valued and protected. As MP Chris Bryant points out, “Parts of the Palace are as old as Notre Dame and we must make sure that every fire precaution is taken as the major work goes ahead. God knows we’ve had enough warnings.”
An eagle-eyed follower brought the article Fears for UK Parliament after Notre Dame Blaze to our attention, although it is a message of which we have been acutely aware for some time. Here the author states that “The Palace of Westminster could face a fire as devastating as the one that has ravaged Notre Dame unless major improvements are made to the crumbling building in central London.” An engineering marvel at its date of construction, the Houses of Parliament are now in desperate need of updating. Last year the members of parliament voted to leave the building so that renovations could occur, but this work is not set to start until the mid 2020s. Let us learn from the tragedy in Paris and ensure that national (and indeed, international) treasures such as the Houses of Parliament are valued and protected. As MP Chris Bryant points out, “Parts of the Palace are as old as Notre Dame and we must make sure that every fire precaution is taken as the major work goes ahead. God knows we’ve had enough warnings.”
Paul Atterbury to speak at Pugin Society AGM in December
This year is the 25th anniversary of Pugin: A Gothic Passion the Victoria and Albert museum’s magisterial exhibition which firmly established AWN Pugin’s reputation in the national consciousness.
To mark the occasion, Paul Atterbury, of BBC 1’s Antiques Roadshow, who curated the exhibition with the late Clive Wainwright, Senior Research Fellow in 19th Century Studies at the V&A, will speak to the AGM of the Pugin Society in December.
Three years in preparation the exhibition ran from June to September 1994, attracting more than 74,000 visitors and wide press coverage. It was followed in the winter of 1995-1996 by AWN Pugin: Master of Gothic Revival an exhibition at the Bard Center, New York, also curated by Paul Atterbury.
Catriona Blaker, co-founder of the Pugin Society, said “We are delighted that Paul Atterbury has agreed to talk about the major exhibition which made so many people more aware of Pugin. Held before the Landmark Trust’s restoration of The Grange, Pugin’s house in Ramsgate, and before the formation of the Pugin Society the exhibition was a real trailblazer which led to an unimaginable advance in understanding of all Pugin stood for.”
This year is the 25th anniversary of Pugin: A Gothic Passion the Victoria and Albert museum’s magisterial exhibition which firmly established AWN Pugin’s reputation in the national consciousness.
To mark the occasion, Paul Atterbury, of BBC 1’s Antiques Roadshow, who curated the exhibition with the late Clive Wainwright, Senior Research Fellow in 19th Century Studies at the V&A, will speak to the AGM of the Pugin Society in December.
Three years in preparation the exhibition ran from June to September 1994, attracting more than 74,000 visitors and wide press coverage. It was followed in the winter of 1995-1996 by AWN Pugin: Master of Gothic Revival an exhibition at the Bard Center, New York, also curated by Paul Atterbury.
Catriona Blaker, co-founder of the Pugin Society, said “We are delighted that Paul Atterbury has agreed to talk about the major exhibition which made so many people more aware of Pugin. Held before the Landmark Trust’s restoration of The Grange, Pugin’s house in Ramsgate, and before the formation of the Pugin Society the exhibition was a real trailblazer which led to an unimaginable advance in understanding of all Pugin stood for.”
Paul Atterbury, a freelance writer and lecturer specialising in 19th and 20th century art and design, formerly adviser to Royal Doulton and editor of Connoisseur magazine, has been part of the Antiques Roadshow team of experts for 29 years.
His books include: English Pottery and Porcelain,The Dictionary of Minton (With Maureen Batkin,) Art Deco Patterns, Twentieth Century Ceramics, Discovering Britain’s Lost Railways and the First World War in 100 Family Treasures.
Looking back on his time preparing the exhibition he said he was astounded by Pugin’s productivity, and influence. “As I came to understand this largely forgotten man, I realised he was one of the key designers on the 19th century. Much of Britain reflects his influence.”
The guide, Pugin: A Gothic Passion published by the V&A, in conjunction with Yale University Press, to coincide with the 1994 exhibition, is still available from Abe books. Edited by Paul Atterbury and Clive Wainwright and highly illustrated it includes chapters by Margaret Belcher, David Meara, Roderick O’Donnell, Stanley Shepherd and Alexandra Wedgwood.
The AGM of the Pugin Society will be held on Saturday December 7th at the Art Workers’ Guild, Queen Square, London WC1N 3AT, starting at 12pm.
His books include: English Pottery and Porcelain,The Dictionary of Minton (With Maureen Batkin,) Art Deco Patterns, Twentieth Century Ceramics, Discovering Britain’s Lost Railways and the First World War in 100 Family Treasures.
Looking back on his time preparing the exhibition he said he was astounded by Pugin’s productivity, and influence. “As I came to understand this largely forgotten man, I realised he was one of the key designers on the 19th century. Much of Britain reflects his influence.”
The guide, Pugin: A Gothic Passion published by the V&A, in conjunction with Yale University Press, to coincide with the 1994 exhibition, is still available from Abe books. Edited by Paul Atterbury and Clive Wainwright and highly illustrated it includes chapters by Margaret Belcher, David Meara, Roderick O’Donnell, Stanley Shepherd and Alexandra Wedgwood.
The AGM of the Pugin Society will be held on Saturday December 7th at the Art Workers’ Guild, Queen Square, London WC1N 3AT, starting at 12pm.
St Edwards Rusholme threated with closure
Designed by E. W. Pugin in 1862, the church is facing closure. As the church is of significant historical, religious, cultural and social value to the community, a petition has been established and while it doesn't originate with the Pugin Society, we support the efforts to keep this building open. Please consider showing your support by signing HERE. Alternately, you may also contact the Bishop of Salford, the Right Reverend John Arnold at bishop@dioceseofsalford.org.uk and copy the email to the Vicar General, Rev Mgr John Daly at john.daly@dioceseofsalford.org.uk. If you prefer to write a letter, the postal address is Wardley Hall, Worsley, Manchester, M28 2ND.
Designed by E. W. Pugin in 1862, the church is facing closure. As the church is of significant historical, religious, cultural and social value to the community, a petition has been established and while it doesn't originate with the Pugin Society, we support the efforts to keep this building open. Please consider showing your support by signing HERE. Alternately, you may also contact the Bishop of Salford, the Right Reverend John Arnold at bishop@dioceseofsalford.org.uk and copy the email to the Vicar General, Rev Mgr John Daly at john.daly@dioceseofsalford.org.uk. If you prefer to write a letter, the postal address is Wardley Hall, Worsley, Manchester, M28 2ND.
Edward Pugin's Granville House under threat from developers
Edward Pugin supporters and enthusiasts will be interested to hear that the Granville Bars, last remaining public section of Pugin's Granville House, formerly the Granville Hotel, in Ramsgate was recently acquired at auction for £310,000. They will be alarmed to learn that the purchaser hopes to convert this part of the building, including its extensive basement, into flats. Planning application has not yet been sought, but the plans, which have been displayed to residents, have been seen by local members of the Pugin Society committee. They are not appropriate for the character and historic use of such a significant building, listed Grade Two and of great architectural and historical importance. Of particular concern is the intention to divide Edward Pugin's great dining hall, with its extant decorative ceiling and great Gothic fireplace, into three apartments. The plans run counter to the whole spirit and nature of the building, which is a landmark in the town. Watch this space for further update.
Edward Pugin supporters and enthusiasts will be interested to hear that the Granville Bars, last remaining public section of Pugin's Granville House, formerly the Granville Hotel, in Ramsgate was recently acquired at auction for £310,000. They will be alarmed to learn that the purchaser hopes to convert this part of the building, including its extensive basement, into flats. Planning application has not yet been sought, but the plans, which have been displayed to residents, have been seen by local members of the Pugin Society committee. They are not appropriate for the character and historic use of such a significant building, listed Grade Two and of great architectural and historical importance. Of particular concern is the intention to divide Edward Pugin's great dining hall, with its extant decorative ceiling and great Gothic fireplace, into three apartments. The plans run counter to the whole spirit and nature of the building, which is a landmark in the town. Watch this space for further update.
St Alban's Restoration Project Update and Heritage Website
The first phase of the restoration programme at St Alban’s, Macclesfield, is reaching completion. Designed by Pugin in 1838 and built between 1839-1841, recent inspection reports of the Grade II* listed building noted several concerns, including rotted roof timbers, inadequate drainage, and damp. With repair costs estimated at £300,000, the parish received support from the Heritage Lottery Fund, the National Churches Trust, and Shrewsbury Diocese alongside fundraising efforts within the parish community. We are pleased to share a link to the heritage and restoration website, located HERE, which features details of the project and a Virtual Tour.
The first phase of the restoration programme at St Alban’s, Macclesfield, is reaching completion. Designed by Pugin in 1838 and built between 1839-1841, recent inspection reports of the Grade II* listed building noted several concerns, including rotted roof timbers, inadequate drainage, and damp. With repair costs estimated at £300,000, the parish received support from the Heritage Lottery Fund, the National Churches Trust, and Shrewsbury Diocese alongside fundraising efforts within the parish community. We are pleased to share a link to the heritage and restoration website, located HERE, which features details of the project and a Virtual Tour.
Parliamentary vacancy in Heritage may be of interest to Pugin aficionados
The Houses of Parliament has recently advertised an opening for the Head of Heritage Collections. The advertisement states that applicants "will be an expert in the field of Victorian art and design and collection management who use their specialist knowledge to represent and promote Parliament’s heritage collections" which include "furniture, decorative arts, library holdings, wallpapers and architectural fabric" - all areas for which Pugin was highly involved. Although a specific knowledge of Pugin is not required for the job, it is our opinion that the ideal candidate would be aware of and sympathetic to Pugin's importance at the Palace, and we urge any of our readers who are qualified in these areas to apply and ensure that Pugin's contributions do not go unappreciated. For more information about the role, view the job listing HERE.
The Houses of Parliament has recently advertised an opening for the Head of Heritage Collections. The advertisement states that applicants "will be an expert in the field of Victorian art and design and collection management who use their specialist knowledge to represent and promote Parliament’s heritage collections" which include "furniture, decorative arts, library holdings, wallpapers and architectural fabric" - all areas for which Pugin was highly involved. Although a specific knowledge of Pugin is not required for the job, it is our opinion that the ideal candidate would be aware of and sympathetic to Pugin's importance at the Palace, and we urge any of our readers who are qualified in these areas to apply and ensure that Pugin's contributions do not go unappreciated. For more information about the role, view the job listing HERE.
BBC rebroadcasts Pugin: God's Own Architect
BBC 4 has decided to once again air Pugin: God's Own Architect, a 2012 documentary that surveys Pugin's work and features various Pugin experts and society members. The BBC offers the following summary:
"Augustus Northmore Welby Pugin is far from being a household name, yet he designed the iconic clock tower of Big Ben as well as much of the Palace of Westminster. The 19th-century Gothic revival that Pugin inspired, with its medieval influences and soaring church spires, established an image of Britain which still defines the nation. Richard Taylor charts Pugin's extraordinary life story and discovers how his work continues to influence Britain today."
The program is available online for a limited amount of time and is restricted to UK viewers only, but one of our facebook followers mentioned that the programme is always available to a worldwide audience on YouTube. The programme is divided into four 15-minute segments which can be viewed at the following links:
Part 1 - https://youtu.be/WevOim4F3dk
Part 2 - https://youtu.be/sWchXRp4E7Q
Part 3 - https://youtu.be/m60TGUjrGmE
Part 4 - https://youtu.be/K5F1zYJTq9c
BBC 4 has decided to once again air Pugin: God's Own Architect, a 2012 documentary that surveys Pugin's work and features various Pugin experts and society members. The BBC offers the following summary:
"Augustus Northmore Welby Pugin is far from being a household name, yet he designed the iconic clock tower of Big Ben as well as much of the Palace of Westminster. The 19th-century Gothic revival that Pugin inspired, with its medieval influences and soaring church spires, established an image of Britain which still defines the nation. Richard Taylor charts Pugin's extraordinary life story and discovers how his work continues to influence Britain today."
The program is available online for a limited amount of time and is restricted to UK viewers only, but one of our facebook followers mentioned that the programme is always available to a worldwide audience on YouTube. The programme is divided into four 15-minute segments which can be viewed at the following links:
Part 1 - https://youtu.be/WevOim4F3dk
Part 2 - https://youtu.be/sWchXRp4E7Q
Part 3 - https://youtu.be/m60TGUjrGmE
Part 4 - https://youtu.be/K5F1zYJTq9c
Channel 4's Big Ben: Countdown to New Year examines restoration progress
The Elizabeth Tower, aka Big Ben, is currently clad in scaffolding and largely hidden, so what exactly is going on behind this metal skeleton? Dr. Anna Keay, Director of the Landmark Trust, revisits this topic in a follow up to a November 2017 episode on this same topic.
The second episode of a three-part documentary series goes behind-the-scenes as Dr Keay visits specialists to examine the restoration processes taking place across the country. Alas,if you missed the original air date the episode is no longer available online. We will let readers know should it appear on an alterative source such as YouTube. In the meantime, Parliamentary Media Office has released a teaser/summary of the episode which can be found HERE.
The Elizabeth Tower, aka Big Ben, is currently clad in scaffolding and largely hidden, so what exactly is going on behind this metal skeleton? Dr. Anna Keay, Director of the Landmark Trust, revisits this topic in a follow up to a November 2017 episode on this same topic.
The second episode of a three-part documentary series goes behind-the-scenes as Dr Keay visits specialists to examine the restoration processes taking place across the country. Alas,if you missed the original air date the episode is no longer available online. We will let readers know should it appear on an alterative source such as YouTube. In the meantime, Parliamentary Media Office has released a teaser/summary of the episode which can be found HERE.
“I live in hope but this job pays worse than the worst job I ever had” Previously unpublished letters highlight the financial difficulties Pugin endured working on the Palace of Westminster. by Joanna Lyall • November 8, 2018
Previously unpublished letters written by Pugin in the last eight years of his life shed new light on his relationship with Sir Charles Barry, architect of the Palace of Westminster, and the financial stresses of their collaboration.
Covering the period 1844 to Pugin’s death in 1852, the letters are published in True Principles, the journal of the Pugin Society. They were produced by the Barry family in 2015 and bought by the Parliamentary Archives.
In her introduction, Margaret Belcher, who edited five volumes of Pugin’s letters before her death in November 2016, writes: “The collaboration between Pugin and Barry was one of the most important architectural partnerships of the nineteenth century yet strikingly little is known about the daily dealings of the two men. “Few though these letters may be among the hundreds that must have passed between them, they set forth Pugin’s attitude to Barry with greater clarity than has been available before.”
While Pugin shows consistent respect for Barry, describing himself as “a most faithful Lieuten it is clear that agreements on expenses are not adhered to. “Although Pugin asks and argues for reimbursement time and again, it is delayed, insufficient, grudging – if forthcoming at all,” Belcher writes. “It is plain Barry took advantage of Pugin’s generosity.”
In a letter, thought to been written in May 1846, discussing the design for the throne in the House of Lords, Pugin mentions the difficulties of having to advance expenses to craftsmen, and says: “I live in hope but this job pays worse than the worst job I ever had.”
“You know I am not an unreasonable man & I am most anxious to carry out all your ideas but I must consider my own interest a little & when I come to reckon up the time expended & the returns they are very unsatisfactory.”
In another letter Pugin says: “The work I do for you is very difficult & harassing & does not provide even a decent remuneration” Barry would be doing him a favour to let him give up, Pugin suggests.
In a letter from his home in Ramsgate, thought to have been written in January 1848, Pugin says: “I cannot find money for the government, if they do not place proper funds at your disposal it is not my fault. I am out of all heart. I do nothing but pay and work & it is enough to dishearten anybody.”
In the last letter in the special edition of True Principles, edited by David Frazer Lewis, with notes by Alexandra Wedgwood, Pugin taunts Barry for holding out hopes of payment which does not materialise and jokes that Barry he may be haunted by visions of unpaid expenses. “But I am afraid your heart is steeled to Supernatural influence.”
A list of expenses, thought to have been sent to Barry in January 1852, nine months before Pugin’s death, covers 67 items including chandeliers, ceiling lights, railings, bell pulls, brackets and ironwork and demonstrates the immense amount of work he continued to do on the Palace of Westminster up to his final breakdown.
“It is plain that Barry took advantage of Pugin’s generosity. Pugin could have refused to make more drawings, yet it was not in his nature to either give up or drive a hard bargain.” Margaret Belcher concluded.
“Barry was the steely ambitious one: he continues to call for designs, apparently knowing that Pugin will not be paid for them; he does not emerge from these letters as the more attractive character. His justification for such unworthy treatment lay in his determination to secure for his country the best possible building to be obtained from the resources at his command.”
Previously unpublished letters written by Pugin in the last eight years of his life shed new light on his relationship with Sir Charles Barry, architect of the Palace of Westminster, and the financial stresses of their collaboration.
Covering the period 1844 to Pugin’s death in 1852, the letters are published in True Principles, the journal of the Pugin Society. They were produced by the Barry family in 2015 and bought by the Parliamentary Archives.
In her introduction, Margaret Belcher, who edited five volumes of Pugin’s letters before her death in November 2016, writes: “The collaboration between Pugin and Barry was one of the most important architectural partnerships of the nineteenth century yet strikingly little is known about the daily dealings of the two men. “Few though these letters may be among the hundreds that must have passed between them, they set forth Pugin’s attitude to Barry with greater clarity than has been available before.”
While Pugin shows consistent respect for Barry, describing himself as “a most faithful Lieuten it is clear that agreements on expenses are not adhered to. “Although Pugin asks and argues for reimbursement time and again, it is delayed, insufficient, grudging – if forthcoming at all,” Belcher writes. “It is plain Barry took advantage of Pugin’s generosity.”
In a letter, thought to been written in May 1846, discussing the design for the throne in the House of Lords, Pugin mentions the difficulties of having to advance expenses to craftsmen, and says: “I live in hope but this job pays worse than the worst job I ever had.”
“You know I am not an unreasonable man & I am most anxious to carry out all your ideas but I must consider my own interest a little & when I come to reckon up the time expended & the returns they are very unsatisfactory.”
In another letter Pugin says: “The work I do for you is very difficult & harassing & does not provide even a decent remuneration” Barry would be doing him a favour to let him give up, Pugin suggests.
In a letter from his home in Ramsgate, thought to have been written in January 1848, Pugin says: “I cannot find money for the government, if they do not place proper funds at your disposal it is not my fault. I am out of all heart. I do nothing but pay and work & it is enough to dishearten anybody.”
In the last letter in the special edition of True Principles, edited by David Frazer Lewis, with notes by Alexandra Wedgwood, Pugin taunts Barry for holding out hopes of payment which does not materialise and jokes that Barry he may be haunted by visions of unpaid expenses. “But I am afraid your heart is steeled to Supernatural influence.”
A list of expenses, thought to have been sent to Barry in January 1852, nine months before Pugin’s death, covers 67 items including chandeliers, ceiling lights, railings, bell pulls, brackets and ironwork and demonstrates the immense amount of work he continued to do on the Palace of Westminster up to his final breakdown.
“It is plain that Barry took advantage of Pugin’s generosity. Pugin could have refused to make more drawings, yet it was not in his nature to either give up or drive a hard bargain.” Margaret Belcher concluded.
“Barry was the steely ambitious one: he continues to call for designs, apparently knowing that Pugin will not be paid for them; he does not emerge from these letters as the more attractive character. His justification for such unworthy treatment lay in his determination to secure for his country the best possible building to be obtained from the resources at his command.”
