Recollections of A.N. Welby Pugin, and his father, Augustus Pugin; with notices of their works

Front matter

RECOLLECTIONS

A. N. WELBY PUGIN

Digitized by

Preface

ance is attached to the early period in which Pugin's talents were developed ; and the Writer's intimacy with him commencing from boyhood he had peculiar opportunities of watching his whole career. He has, therefore, been induced to place upon record such leading incidents of his life as, he trusts, will not be found devoid of interest. These have naturally led to some notices of the elder Pugin and others his eminent contemporaries during the rise of a school of art, the progress of which from a very low ebb may be traced, however imperfectly, in the following pages.

The step now taken has been deferred from time to time under the impression that a more competent person might undertake the task ; but at the desire of many friends he no longer hesitates, and the moment seems well-timed when a Public Memorial in honour of Pugin is under consideration. Anxious also that this Memoir should be faithful, as well as acceptable to the members of Pugin's family, and feeling that he could not describe Pugin's character from a Eoman Catholic point of view, the Author has, at the request of Pugin's widow, admitted an Appendix written by a friend of the family. In some of the sentiments therein expressed he cannot agree ; but their insertion seemed due to the wishes of Pugin's relatives, who desired that certain opinions attributed to him on controversial points connected with the Roman Catholic Church,

PREFACE.

vii respecting which he had been misunderstood, might be explained. Beyond these remarks, the Writer has only to beg the reader's indulgence for defects in a wort compiled during such moments of leisure as his professional engagements afforded, and to offer his thanks to the many friends who have so readily placed at his disposal whatever information respecting Pugin they possessed.

CHAPTER I. Pack

The elder Pugin's arrival in England — Introduction to Mr. Nash — Acquaintance with Sir M. Shee and Hilton — Nash's Town and Country Residences — Marriage of Mr. G. Repton and Lady E. Scott — Intention to publish a work on Gothic Architecture — Introduction to Miss Catherine Welby — Origin of the Society of Painters in Water Colours — Becomes a Member of the Society — Anecdote of George the Fourth and Nash — His early history 1

Chapter II

Pugin travels to obtain sketches for his Works — Goes to Normandy — Messrs. Langlois and De Caumont — Discountenances the practice of despoiling ancient ruins — Meets distinguished travellers— Lord Elgin at Kenilworth Castle — Unsatisfactory character of the pervading style of Architecture .. ..16

Chapter III

Early Instruction — Domestic regulations in Pugin's establishment — Mrs. Pugin's peculiarities — Pugin's intimacy with Mathews, the Comedian — Studies the theory of Mediceval Architecture — Napoleon as First Consul — Isabey, David, and Lafitte, the artists — Mr. Pugin's antecedents .. .. ..26

Chapter IV

Birth of Augustus Welby Northmore Pugin — His education — Amusements in his father's office — Sketches and measures Eochester Castle— Searches the Well — Narrow Escapes — Goes to Oxfordshire, Norfolk, &c. — Travels in France — Attends Irving's Chapel in Cross Street, Hatton Garden — Mrs. Pugin's Literary Powers — Defence of Lord Melville — Her Adventures in Lincoln Cathedral .. .. .. .. .. ..32

X

CONTENTS.

CHAPTER V. Page

Effect of Calvinistic teaching — Brunei and the first public Cemetery— Pugin's connection with Public Improvements — Practice of Pugin's Office — Introduction at the British Museum to Messrs. Rundell and Bridge — Appointed to design the Furniture for Windsor Castle — Sir J. Wyattville and the King . . . . 48

Chapter VI

Welby Pugin's first connection with Theatres — Employment in the designs of Scenery for the Opera of Kenilworth at Her Majesty's Theatre — Construction of a Model Theatre in his father's house — Bad effects from associating with low society — Establishes an Art Manufactory — Improved condition of Art-Workmen — Failure of the Scheme .. .. .. .. ..57

Chapter VII

Temporary Embarrassments — Pugin's Marriage, and his Wife's Death — Buries her at Christchurch Priory Church — Intention of building a House at Christchurch — Abandoned through his Father's interference — Seeks another Neighbourhood, and builds St. Marie's Grange, near Salisbury — Intimacy with Mr. Osmond — Indignation at the modern alterations in Salisbury Cathedral — Commences Correspondence with Mr. Osmond by a Letter from Wells .. .. .. .. .. .. 67

Chapter VIII

His Second Marriage — Industry in copying Illustrations in the Cathedral Library — Success in his Profession — Proposes to sell St. Marie's Grange — Designs for altering Longford Castle — Eccentric Habits — Amusing Anecdote — Improves the Vestments at the Roman Catholic Chapel — Readiness to give Professional Advice — Death of his Father and Mother .. .. ..93

Chapter IX

Article in the ' Times ' — Publishes his work entitled ' Contrasts,' &c. — Remarks on the character of the Book — Strictures upon the practices of the Roman Catholic Church — Anecdote referring to Vestments — Erroneous Notions, limiting Art to those in connection with the Roman Catholic Church — Public Opinion upon the ' Contrasts' — Humorous Song in reference to the work .. 102

CONTENTS.

xi

CHAPTER X. Page

Pugin's introduction to the Earl of Shrewsbury — Letters addressed to his Lordship on various occasions — Letter from the Rev. Dr. Rock— Memorials to Pugin from Maynooth and other places — Letter from Count de Montalembert — Letter to the Lords of the Committee of Trade .. .. .. .. .. 117

Chapter XI

Publishes 'True Principles of Gothic Architecture' — Cruises at Sea — Facility of drawing and etching while in the boat — Sound principles of design — Tact requisite to carry them into execution — Exposure of unrealities, and censure of wrong Roman practices — Publishes his great work, i A Glossary of Ecclesiastical Ornament and Costume' — Its effect .. .. .. .. 142

Chapter XII

Publishes ' A Treatise on Chancel Screens ' — Severity of his Remarks upon a section of the Roman Catholic Church, when disregarding proper Church Arrangements — Precedents taken from Lombardic Churches — ' Modern Ambonoclast ' — ' Calvinist Ambonoclast' — Anecdotes .. .. .. .. 150

Chapter XIII

Ruskin's severe Criticism upon Pugin's Buildings — Inconsistencies pointed out — Strong religious Bias — Troublesome Interference of Committees — Incidents relating to the Foundation of St. George's Church and Conventual Establishment, Lambeth — Remonstrates against unusual Expectations, and exposes their Fallacies — Defects in the Design from want of due study . . 162

Chapter XIV

Quits Salisbury and comes to London — At the same time commences building a House and Church at his own expense at West Cliff, Ramsgate — Description of the Church of St. Augustine— Loses his second Wife — His presentiment of her approaching Death — Buries her at St. Chad's Cathedral, Birmingham — His great Patron and Employer, the Earl of Shrewsbury — His Lordship's remarks upon Pugin's Works — Much assisted in his Buildings by Mr. Myers — His first Meeting with Myers — Designs Alterations for Balliol College .. .. .. ..173 xii CONTENTS.

CHAPTER XV. Pagb

Consulted by the late Lord Stuart de Rothesay at High Cliff— Leaves the place hastily — Contemplates a third Marriage, but meets with a disappointment — Publishes a Pamphlet in vindication of his conduct entitled, 'Statement of Facts' — Extracts from Pamphlet .. .. .. .. .. 190

Chapter XVI

Remarks on Jewels prepared for the intended Wedding — Pugin makes a Tour in Italy — Reception by the Pope — Expresses his annoyance that many of the Priesthood disregard his theories upon Christian Art — Contrasts their apathy with the earnestness of many in the Anglican Church, who readily adopt his ' True Principles ' .. .. .. .. .. 224

Chapter XVII

Pugin's third marriage — Lord Shrewsbury's congratulation — Account of Roman Catholic Buildings in course of erection — Assumed completion of Structures partially built — Strictures upon Pugin's Buildings in the 1 Ecclesiologist ' — Insufficient record of his negotiations with employers and others to make a full Biography — Addresses a Letter to M. Didron, giving an account of all that he is doing in England towards the revival of Ancient Art 230

Chapter XVIII

Destruction of the old Houses of Parliament— -Pugin assists in preparing Designs for the new Palace — His subsequent employment, under Sir C. Barry, to superintend certain details — Sir C. Barry's Testimony to Pugin's Genius — Pugin's readiness to accord merit wherever due . . . . . . . . . . . . 240

Chapter XIX

Intimacy with Mr. Herbert Minton, of Stoke-upon-Trent — Labours with him to revive and re-introduce the use of Encaustic Tiles — First complains of failing health — Writes again, referring to his impaired health and shattered nerves — Addresses an angry letter to Mr. Minton, and withdraws all confidence in him — Upon Mr. Minton's explanation, expresses deep sorrow at having written so harshly .. .. .. .. .. .. 250

CONTENTS.

xm

CHAPTER XX. Page

Pugin's opinion of the Great Exhibition Building in Hyde Park, 1851 — Exhibits largely in the Mediaeval Court— Praise given him by Professor Waagen — Consulted, in 1852, upon the formation of the Architectural Museum — His opinion upon Art-Workmen — Power of persuasion in Argument— A work on Sculptured Ornament contemplated but never carried into execution — Desire to see a Mediaeval Club established . . .. .. 257

Chapter XXI

Writes to Mr. Minton that he is engaged on a work to produce Mutual Charity amongst Members of different Religious Communions— The work never published — Pre monitory symptoms of disturbed intellect — Public sympathy and intended Subscription for his support — Letter of Lord John Russell — Mr. E. W. Pugin. his son, discountenances the proposed public Appeal as unnecessary — Rumoured change in his Religious Views — No sufficient foundation for the report . . . . . . . . . . 265

Chapter XXII

General Retrospect of the progress of Modern Architecture — Peculiarities of Lombardo-Gothic — Pugin's treatment of Mediaeval Architecture — Recognition of the Labours of Architectural Authors preceding Pugin's time .. .. .. ..278

Chapter XXIII

Further Illustrations of Pugin's Character— Appeal to his Co-religionists on the subject of the Papal Hierarchy in England- Neglect in the recognition of his great services by the leading Roman Catholics — A Memorial in honour of his Memory, founded by Protestants, to perpetuate the great services he rendered to Architecture .. .. .. .. 293 xiv

CONTENTS.

Appendix

Page

Chapter I

Pugin's principles as manifested in his writings — The ' Times ' on the ' truthfulness ' of Pugin's principles — His chief uworks considered— ' Contrasts ; or, a Parallel between the noble Edifices of the fourteenth and fifteenth centuries and corresponding Buildings of the present day' — Causes of the decline of Gothic architecture— The revival of letters in the sixteenth century — Paganism in art and literature — The neglect and decay of the English Cathedrals a quarter of a century ago— Pugin's hatred of shams and unrealities — His severe criticisms on modern church builders — ' The True Principles of Pointed or Christian Architecture considered ' — Pugin's principles generally adopted as fundamental axioms in Medieval architecture — His criticisms on the Grecian style — Pointed Architecture best suited for Christian purposes— Its symbolism, strength, and beauty — Appropriateness the principle of ornamentation — ' An Apology for the Revival of Christian Architecture ' — A defence of his own principles — Their antiquity — The Gothic revival and its results. 311

Chapter II

Pugin on Rood Screens — Tractarian criticism — ' Reverence ' versus the ' All- seeing Principle ' of modern church builders — His controversy with the ' Rambler,' the organ of debased Italianised principles in art and architecture — Dr. Newman's tribute to Gothic architecture — Pugin's denial that he would like to destroy St. Peter's, Rome — Moorfields Chapel — Musical mass in Cologne Cathedral — Ecclesiastical taste in France — His severe criticisms on the operative music in English Catholic chapels — ' Church-

CONTENTS.

xv openings and religious performances ' — Pugin's letter on the Catholic Church, Hereford — Legacy-hunting — A last ' scene ' described— Pugin on the English Catholic hierarchy and its purely spiritual character — On Church government — He is accused of advancing heretical views — Eefutation of his accusers — Episcopal opinions — Letters — Anglican orders — His advocacy of the voluntary principle — And of the complete separation of Church and State — The abuses resulting from large endowments — State tyranny and corruption, and consequent spread of infidelity in Europe during the last three centuries . . . . . . 361

Chapter III

Pugin's character as exhibited in his Writings — His originality — His thoroughness — His honesty of purpose — His strong love of the national character — His habits of activity — Pugin's incomplete and unpublished Work, entitled 'An Apology for the Separated Church of England since the reign of Henry VIII.,' showing the general decay of the Ecclesiastical spirit and the corruptions of the Fifteenth Century — The system of endowments and large monastic possessions, and their abuses considered— The Work interrupted by death. .. .. .. 419

LIST OF ILLUSTBATIONS.

Page

Portrait of A. Welby Northmore Pugin, from recollection, by Joseph Nash .. .. .. .. Frontispiece

Portrait of A. Pugin, Sen., from recollection, by Joseph Nash . . 26

Fac-simile of a Sketch of the Priory Church, and ruins of the Castellan's House, Christchurch, Hants, taken by Welby Pugin when 13 years old .. .. .. ..GO

View of St. Marie's Grange, Pugin's residence, near Salisbury .. 72

Illuminated Heading to one of his letters .. .. 76

Sketches of the Towers of Newcastle-on-Tyne, Boston, and Taunton, forming marginal illustratioDs to one of his letters .. ..77

Sketches of Traceried Window Heads from Bristol Cathedral and Tintern Abbey, illustrating another of his letters . . ..78,79

View of Alton Towers, forming tail-piece .. .. ..116

Pugin's Yacht and other boats .. .. .. .. 149

North-west View of St. George's Roman Catholic Cathedral, as originally designed by Pugin .. .. .. ..170

Interior View of St. George's Roman Catholic Cathedral, as originally proposed by Pugin .. .. .. .. ..170

The Church of St. Augustin, West Cliff, Ramsgate, founded by Pugin, together with Pugin's Residence — The Grange .. .. 175

Catholic Charities .. .. .. .. .. ..189

Pugin's Wedding Card . . . . . . . . . . 230

RECOLLECTIONS

OF

A. WELBY PUGIN.

Chapter I

The elder Pugin's arrival in England — Introduction to Mr. Nash — Acquaintance with Sir M. Shee and Hilton — Nash's Town and Country

, ^Residences — Marriage of Mr. G. Repton and Lady E. Scott — Intention to publish a work on Gothic Architecture — Introduction to Miss Catherine Welby — Origin of the Society of Painters in Water Colours— Becomes a Member of the Society — Anecdote of George IV. and Nash — His early history.

Before entering upon a narrative of the incidents belonging to the life of Augustus Welby Pugin, it is desirable to give some account of his parents, particularly of his father, whose memory is cherished by many now living, who respected him for his generous nature and amiable disposition. The elder Pngin was born in France, in the year 1762 ; his birthplace is unknown, but he was descended from a family of distinction, his ancestor being a nobleman who raised a hundred soldiers for the service of Fribourg, the Senators augmenting his arms 4 d'un oiseau sable,' for his valour in having defeated a hundred cavalry at Morat,

B when besieged by Charles Duke of Burgundy, in 1477. Pugin witnessed many of the fearful scenes in the French Ee volution, and it is said that he fell fighting for the king, and was thrown with some hundred bodies into a pit near the Place de la Bastille, whence he managed to escape by swimming across the Seine, flying to Eouen, and embarking from that place to England. As a total stranger, almost entirely ignorant of the English language, his position was one of great difficulty. He now eagerly read all the advertising columns of the newspapers, and at last his attention was arrested by an advertisement in which the assistance of a draughtsman was required in the office of Mr. Nash, the celebrated architect, with a further intimation that the services of a foreigner would be preferred. Pugin therefore hastened to Mr. Nash's residence, and when shown into the waiting-room was astonished to find a French nobleman, whom he had known in Paris, a candidate for the same appointment.

Mr. Nash, after considering the respective qualifications of the two candidates, gave the preference to Pugin. Little indeed did he know whether his abilities were equal to the requirements that might be expected, but he resolved to exert himself most strenuously, and endeavour to please Mr. Nash, who was at this time in the full tide of his prosperity, and could find occupation for artists of all kinds. Perceiving that Pugin had taste and skill in the use of colours, he employed him on perspective views of buildings in the Gothic style then erecting under liis superintendence in Wales, and also on drawings of the Waterloo Monument, for which Mr. Nash had made a drawing, though it was never carried into effect. These designs Pugin executed on a large scale in body colour, in a bold and effective manner, working with unceasing energy, and availing himself of any leisure time for studying drawing, to render efficient assistance to Mr. Nash. To advance this object he also entered himself as a student at the Royal Academy, and became intimate with the late Sir Martin Archer Shee and Hilton, who were then studying in the same school of Art.

Eemembering that a drawing master to his fathers family in France was now living somewhere in London, he made a search and discovered him. This person was Merigot, the aqua-tint engraver : under this artist Pugin made great progress in his art. He often related the many difficulties experienced at this early period of his residence in England, owing to his imperfect pronunciation of the few words of English which he had learnt. Pugin, according to the fashion of that day, wore a three-cornered hat, carried his muff and gold-headed cane, and made frequent applications at the post-office for letters. To his repeated inquiries, he constantly received the same petulant answer, 4 1 tell you there are no letters for Monsieur Augustus Pugin, but plenty for Monsieur Puggen.' The mention of this incident to his friend Mathews in after times, induced that clever comedian to found upon it the well-known character of Monsieur Malet, which he

b 2 personated with so much feeling. 'Ah ! ' Pugin would often say, ' people little know that Monsieur Malet should be Monsieur Pugin.'

Perhaps no professional man ever attained greater success in his pursuits than the late John Nash. He Avas, as is well known, the especial favourite of George the Fourth, being his private architect, and engaged by the King to make the alterations and additions at Buckingham Palace ; he also built the Pavilion at Brighton.* Possessed of a large professional income, Nash lived in a style of some splendour at his house in Begent Street, receiving his employers in a spacious and beautiful gallery adorned with the choicest sculpture and pictures ; f and possessing East Cowes Castle, in the Isle of Wight, where he was visited by many of the leading families of the aristocracy.

Nash's treatment of his pupils was of the most generous kind, and when staying in the Isle of Wight, he permitted the gentlemen of his office to join the distinguished company who visited him. Amongst them was George Stanley Bepton, a son of the famous landscape gardener, and brother of the late respected Canon of Westminster. This gentleman won the heart of no less a person than the daughter of the then

* The Government business, executed under the control of the Board of Works, was then divided between three architects, each of whom received a retaining fee of five hundred pounds per annum, with a commission of three per cent, upon the expenditure. The three architects were Nash, Sir R. Smirke, and Sir J. Soane.

t The apartment referred to as Mr. Nash's reception-room is now completely transformed, and become familiar to the public by the name of the 1 Gallery of Illustration.'

A. WELBY PUGIN.

Lord Chancellor Eldon, who was a frequent visitor at East Cowes Castle. Mr. Repton was privately married to Lady Elizabeth Scott in March 1817 ; Lord Eldon was at first much displeased with this marriage, but in course of time he not only became reconciled both to his daughter and son-in-law, but evidenced the sincerity of his regard by appointing the latter one of his executors.

But to return to our subject: About this period there was a mania for building gentlemen's houses in imitation of castellated and monastic structures. Mr. Nash being largely engaged in this way, and feeling the want of practical works upon Gothic architecture (for although beautiful pictorial illustrations of our cathedrals were in course of publication by Britton, no book yet existed in which the details were so drawn as to enable the practical architect to make working drawings from them), suggested to Pugin that by applying himself to this particular purpose he would do the profession a great service and secure a profitable occupation.

Acting upon the advice of Mr. Nash he shortly set to work collecting materials for a publication which would meet the wants of the profession. Pugin was now in a position enabling him to earn a fair income ; and while occupied in making sketches for a picturesque work on Islington he became acquainted with Miss Catherine Welby, the daughter of a distinguished barrister, and a relative of Sir William Welby, Bart., of Denton Hall, Lincolnshire. Pugin's position was hardly such as to make him a desirable candidate for the hand of this lady, yet, by his gentlemanly demeanour and persevering suit he overcame all the objections of her friends, and they were eventually married at St. Mary's Church, Islington. Of this lady more will be said hereafter. She was possessed of no ordinary charms, and known as ' The Belle of Islington/ Islington, be it remembered, was at that day the head-quarters of the Royalist Emigration. In proof of her good looks she was accustomed to relate the circumstance that once at a dinner party, a gentleman sitting next to her, with whom she had been in close conversation, availing himself of one of those mysterious pauses which sometimes occur at the table, and looking her earnestly in the face, suddenly exclaimed, with animated gesture, ' Madam, how exceedingly like you are to the devil.' This expression caused no small surprise amongst the company 5 but far from discomposing Mrs. Pugin, she gracefully bowed her thanks, and accepted the remark as a compliment to her personal appearance. Familiar with the works of Milton, and especially Paradise Lost, she recognized in the seemingly rude observation an allusion to the fascinating form of Satan as there described by the great poet.

Pugin now came into repute as an architectural draughtsman, and his drawings were deservedly admired for their truthfulness of form and colour. At this period there was a marked improvement perceptible in the works of artists who had previously

A. WELBY PUGIN.

worked in water-colours. The earlier practice in the art had been carried out with remarkable simplicity ; broad tints of monotone, possessing something resembling a local tint, formed the groundwork, the objects being drawn freely with a reed pen, either in dark brown colour or Indian ink. So far this mode of working in water-colour had hitherto prevailed, but a change in the process now took place ; the old method of preparing the drawing in uniform tint was given up, and efforts were made to represent objects with their local colours and varied effects of light and shade. Many of the most eminent artists felt that the time had arrived when a popular annual exhibition of their productions could be successfully established. With this view, they associated themselves in the foundation of the Old Water Colour Society. Their first exhibition took place on the 22nd of April, 1805, at the rooms built by Vandergucht the engraver, in Lower Brook Street, Grosvenor Square. Eventually they moved to Pall Mall East, where the annual exhibition continues to be held. Of this body Pugin was elected an associate in 1808, in the room of Richard Ramsay Reinagle. He frequently exhibited in their gallery, and his beautiful drawings of the interior of the Hall of Christchurch, Oxford, of Westminster Abbey, and St. Paul's, with many views of Lincoln, were well known as creditable pictures of the earlier exhibitors of this distinguished society. Pugin always spoke in terms of the greatest regard for many of his associates in this body, particularly of Copley, Fielding, and George Robson, men whose friendship he enjoyed.

Although Pugin had for some time ceased to give his exclusive attention to Mr. Nash's works, yet his intimacy with that great architect continued for many years afterwards. Pugin entertained much respect for him, and delighted to relate anecdotes to his pupils characteristic of Nash's generous nature and indomitable spirit. Some of these may fitly be recorded here. It was in the year 1824, while Nash was engaged in building the Pavilion at Brighton, that he received the King's commands to prepare a work illustrating that extraordinary Hindu structure. Mr. Nash naturally requested Pugin to take sketches, make the drawings, and superintend the engravings ; and eventually a beautiful work was produced, at great cost, consisting of perspective views etched in outline, printed in colour, and finished by hand. The King's object was to have an elegant book which he might give as a souvenir to those who were honoured by invitations to Brighton. The strictest precautions were therefore taken to prevent the possibility of any impressions of the plates becoming public 5 but it was hardly to be supposed that in the passage of the copper-plates and proofs through the hands of the engravers, printers, colourists, and others, some stray prints might not be dispersed. This indeed proved to be the case ; and in the sale of the effects of one of the engravers who had become bankrupt a few prints of the intended work

A. WELBY PUGIN".

were publicly exposed for auction. A most respectable bookseller, who by chance attended the sale, knowing Mr. Pugin's anxiety that no impressions of the work should get into circulation, at once purchased them to prevent such a result. On this becoming known to Mr. Nash, he rather hastily, and without waiting to be made acquainted with the circumstances under which the prints were obtained, communicated the fact to the King, and the well-intentioned purchase of the bookseller had nearly made him the victim of a prosecution as a receiver of stolen goods. Fortunately, however, a timely explanation saved him from this annoyance. This fact shows with what vigilance Mr. Nash carried out the King's command in connection with the preparation of the book, proof impressions of which were submitted to His Majesty and revised by the King's own hands. Pugin relates an amusing incident which occurred while he was making the sketches for this work. He was engaged in one of the galleries of the Pavilion colouring a view. Deeply intent upon his drawing, he did not observe that some one had entered the apartment, but on looking round, to his surprise, saw the King, who was then advancing to the spot where he was sitting. Pugin had scarcely time to rise when the King, passing by him and not perceiving a stool on which a colour-box was placed, accidentally overthrew it. The King stooped, and instantly picking up the box, gave it to Pugin with an expression of apology. It may easily be imagined how fully Pugin appreciated this act of condescension, which he never failed to mention whenever he had opportunity. The kindly act is quite in keeping with many others which could be related by those whose privilege it was to be brought into frequent intercourse with George IV.; and no one received more proofs of the King's generous nature than Mr. Nash, owing to the confidential relation in which he stood to him as his private architect. Pugin was also engaged in a very costly work by Sir George Nayler, Garter King-at-Arms, upon the ceremonies attending the coronation of George the Fourth, and contributed many illustrations to Ackerman's Microcosm of London; he was also occupied with Turner in the production of a work on Cassiobury for the Earl of Essex.

In order to animate his pupils to perseverance and industry, Pugin frequently set before them the example of Mr. Nash's early career, who when a pupil in Sir Robert Taylor's office, had an early opportunity of bringing himself into notice. Sir Robert, on one occasion, putting before his clerks some plans to which certain alterations were needed in an unusually short space of time, was annoyed at being told that it was impossible to do what he required. This being overheard by young Nash, he ventured to ask if he might undertake the task which had been declined by his superiors. Sir Robert, struck by the earnest manner of the boy, granted his request. Nash immediately went to his room, procured paper and candles, and, sitting up all night, laboured incessantly at the drawings, and by the time appointed appeared before Sir

A. WELBY PUGTN.

Robert with the plans completed. This unexpected achievement convinced Sir Robert that Nash would succeed in after life — a prediction which had complete fulfilment. Amongst the pupils in the office with Nash were Cockerell, the father of the present 0. R. Cockerell, the accomplished President of the Institute of British Architects, and J. Leach, who, after studying architecture, left the profession for that of the law, which he followed with such success that he rose to the high position of Master of the Rolls, which office he filled for many years. As another illustration of Nash's perseverance in after life, and his determination never to be overcome by seeming difficulties, it is told that on one occasion, having to go to some out-of-theway place in Wales, he disdained the accustomed road, which was circuitous, and resolved to seek a more direct path to his object. Setting out on foot he encountered many hedges, ditches, and fences, most of which he passed, though not without difficulty. At last, meeting with a locked gate, awkwardly framed and inconvenient to mount, he was seen to retrace his steps several hundred yards, make a sudden run, and attempt to vault over the gate. Failing in this, again and again he put forth his strength, and nearly accomplished his aim ; at last, stripping himself of his coat and waistcoat, by a longer run and a desperate spring he succeeded in clearing the barrier. He was then seen to climb deliberately over the gate, retrace his course, put on his clothes and proceed quietly on his way. On being told that this performance had been witnessed at a distance, he observed that it was his rule never to be deterred by seeming difficulties from accomplishing anything which he knew to be practicable.