The importance of the leading British architect A. W. N. Pugin (1812-52) in the history of the Gothic Revival, the development of ecclesiology, the origins of the Arts and Crafts Movement, and in architectural theory is incontestable. His letters are vigorous, direct, often witty, and invaluable for architectural and religio-historical research. The second of five volumes.

The importance of A. W. N. Pugin (1812-52) in the history of the Gothic Revival, in the development of ecclesiology, in the origins of the Arts and Crafts Movement, and in architectural theory is incontestable. A leading British architect who was also a designer of furniture, textiles, stained glass, metalwork, and ceramics, he is one of the most significant figures of the mid-nineteenth century and one of the greatest designers. His correspondence is important because it provides more insight into the man and more information about his work than any other source. In this volume, the third of five, which spans the years 1846 to 1848, Pugin's two most important churches are completed and the first part of the House of Lords is opened. He makes his only trip to Italy, and he marries for the third time. His correspondence sheds light too on the religious life of the time, especially ecclesiastical politics.

The importance of A. W. N. Pugin (1812-52) in architecture and design in England and beyond is incontestable. The leading architect of the Gothic Revival, Pugin is one of the most significant figures of the mid-nineteenth century and one of the greatest designers. His correspondence furnishes more insight into the man and more information about his work than any other source. This volume, the last of five, contains letters from 1851 and the first months of 1852; after that, Pugin's health failed and he died in September. In the great event of the period, the international exhibition held in the Crystal Palace in Hyde Park, the display of objects made to Pugin's design, which he planned and oversaw, was an outstanding success, bringing substantial commercial benefit to his colleagues and spreading Pugin's influence even more widely than before. The value of his judgment was recognized in his appointment to two committees in connection with the Great Exhibition. Frantic though the preparations for what came to be known as the Medieval Court were, Pugin made time to write for publication. He issued letters and pamphlets in explanation, defence, and support of the Catholic Church and its re-established hierarchy, and turned again to the conundrum that had long teased him, the relation between the faith and the form, not only architectural, in which it found expression. He completed the book on chancel screens conceived some years before. At home in The Grange at Ramsgate, he continued to design stained glass windows, for other architects as well as his own clients, and supervised the production of cartoons; he poured out designs in his usual fields of metalwork, ceramics, furniture, carving, and wallpaper, and branched out, not always happily, into new areas such as embroidery and the decoration of piano cases. The demand for drawings for Westminster, where the House of Commons was due to open early in 1852, was as incessant as ever. His last child, Edmund Peter, was born in 1851 only a few months before his first grandchild, Mildred. Both were baptized in the church of St Augustine which he was still building next to his house and where he himself was soon to be laid in the vault he provided for the purpose. The volume also includes some letters which have come to light too late for inclusion in their proper chronological places and some texts of doubtful authenticity.

The importance of A. W. N. Pugin (1812-52) in the history of the Gothic Revival, in the development of ecclesiology, in the origins of the Arts and Crafts Movement, and in architectural theory is incontestable. A leading British architect who was also a designer of furniture, textiles, stained glass, metalwork, and ceramics, he is one of the most significant figures of the mid-nineteenth century and one of the greatest designers. His correspondence is important because it provides more insight into the man and more information about his work than any other source. This volume, the fourth of five, contains letters from 1849 and 1850. Happily married, Pugin was more settled in his home at The Grange in Ramsgate in these years than he had ever been before. He completed his long-contemplated book on Floriated Ornament. At first he appears principally as a designer of stained glass, often working for other architects: pre-eminent, he supplies Charles Barry, William Butterfield, R. C. Carpenter, G. G. Scott, for instance. The letters display his knowledge of surviving medieval glass, biblical and historical sources, hagiography, heraldry, iconography, besides revealing his attention to details of composition, texture, colour, the representation of figures, the effects of lighting. Next door to his house, he continued to build the church of St Augustine, which was ready for opening in August 1850. Later that year, two public events quickened the pace of Pugin's life: the Roman Catholic hierarchy was restored in England, and the Great Exhibition was announced for 1851. Personally insulted because of his religion, Pugin defended his embattled faith in the ensuing uproar; at the same time he began to make a multitude of designs for his colleagues to execute: together they produced what came to be called the Medieval Court, the outstanding display in the exhibition and a masterpiece of lasting influence.

The importance of A. W. N. Pugin (1812-52) in the history of the Gothic Revival, in the development of ecclesiology, in the origins of the Arts and Crafts movement, and in architectural theory is incontestable. A leading British architect who was also a designer of furniture, silver, textiles, stained glass, and jewellery, he is one of the most significant figures of the mid-nineteenth century and one of the greatest designers. His correspondence is important because it provides more insight into the man and more information about his work than any other source. It is vigorous, direct, often witty, and provides an invaluable source for architectural and religio-historical research. By the end of this volume (the first of five) Pugin is established in his career.