ancient times. There are in the church, as now built, amidst many beauties, defects which may be found in his other productions, arising from the rapidity with which he sketched his designs, and his never deigning to revise or modify them. Hence many crude notions were adopted, which would undoubtedly have undergone change had he exercised the patience required for revision. In this particular he might have learned much from the great artists of the middle ages, the very best of whom, however happy in their first sketches, did not rest satisfied till, by successive modification and grouping, they were convinced that no further improvements could be made. How fully do the sketches of Raphael illustrate this fact! what intense pains-taking they exhibit! And hence the excellence of the final result.

The annoyance to which Pugin was subjected by applications for designs to be executed from ridiculously insufficient funds, made him at times very irritable. A story is told of his once receiving a letter from a Roman Catholic prelate, requesting designs for a new church of the following description. It was to be 'very large,—the neighbourhood being very populous; it must be very handsome,-a fine new church had been built close by; it must be very cheap,-they were very poor, in fact had only £; when could they expect the design?' Pugin wrote in reply:

'MY DEAR LORD-Say thirty shillings more, and have a tower and spire at once. A. W. P.'

Pugin's patience was often tried by the irresolute conduct of those who sought his professional services; thus on being sent for by a noble lord, whose seat in Lincolnshire had been greatly injured, and partly destroyed by fire through the overheating of a stove, to advise him on the work of restoration, and suggest such improvements as might occur to him ; he at once pointed out what ought to be done, remarking upon the bad taste yet remaining in the details of the portion of the house not destroyed, plainly intimating that the whole building should be re-constructed. Being interrupted occasionally by the noble proprietor asking, 'Well, what shall I do? what shall I do?' 'Do,' exclaimed Pugin, 'why put a barrel of gunpowder and blow up what remains, and when it is demolished then I'll tell you what to do;' a piece of advice not acted upon, and the house was restored in the same debased style, but not, as may be imagined, under the professional guidance of Pugin.

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. UPON quitting Salisbury in 1841, Pugin came to London, and took up his residence at Cheyne Walk, Chelsea. Here he resided some time, but he had previously purchased ground at the West Cliff, Ramsgate, and commenced building a house upon a much larger scale than the one he sold near Salisbury. He also began to build there a church at his own expense. This building, which occupied some years in construction, was advanced from time to time as he could spare the means from his yearly income. His desire was to build it in the most correct and solid manner, and in this he was successful. The church, as it now stands, consists of a nave, chancel, centre tower, south aisles, and transept. Everything about it is truthful. The exterior is faced with flint banded with courses of stone; the oak roofs are covered with ornamental Staffordshire tiles, the walls with ashlar; the chancel and Lady Chapel ceilings are panelled and emblazoned; the