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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.”
