covered that he was as determined, and perhaps a more dangerous opponent, than his violent brother. It appeared to me that he wrote against time. Half his letters were written to say that he could not find leisure to write, such was the pressure of his parochial duties. A confirmation and a religious tea-party served him as an excuse for three weeks; and between apologising for omissions, and proposing vexatious objections, he managed to eke out the time, which I conceive was employed by those at home to harden Miss L for the very unfeeling and disgraceful part she was to act towards me.

'At length, in a very off-hand note, in which he rather impudently told me that the immediate resignation of my pretensions was only a due and proper reparation for the pain I had caused the family, was enclosed a note in Miss L-'s hand-writing, addressed to her uncle, but intended to be forwarded to me. It was to the following effect:

"That she was deeply grateful to him for all the kind interest he took in her welfare; and as she was resolved not to fulfil her engagement, she begged him to let me know that any further intrusion (sic) on my part, or on that of my friends, would be exceedingly offensive to her," &c.'

Many of Pugin's friends will be of opinion that this paper does credit both to his head and his heart.

It was printed only for private circulation, and a man of even less ardent temperament than Pugin might perhaps be excused for taking such a step to set himself right in the estimation of his friends under circumstances so painful. But the 'Statement of Facts' must speak for itself, and the general reader will form his own judgment upon it. At the same time, it must be remembered that we have no counter-statement, nothing in writing from Miss L-'s friends, which discloses their reasons for the strong aversion entertained to the match. It may, however, be gathered from the 'Statement' that their objections were mainly based on religious grounds.

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 disregarded his theories upon Christian Art -Contrasts their apathy with the earnestness of many in the Anglican Church, who readily adopt his "True Principles."

In anticipation of his intended marriage with Miss LPugin designed most beautiful bridal jewels, and had them made under his personal directions. These, it will be remembered, were exhibited amongst the productions of mediæval jewellery in the Great Exhibition of 1851.

They were deservedly admired, and on Her Majesty's visit to the Exhibition, she specially requested to see them, before inspecting the other objects in the collection.

The expense incurred in these ornaments must have been considerable, and he evidently intended that his marriage ceremony should be of no common kind.

Pugin in the year 1847 for the first time extended his travels beyond Germany, and after visiting all the leading cities in the north of Italy, proceeded to Rome. His studies hitherto had been exclusively confined to the medieval architectures of England, France, Bel

gium and Germany. With all his appreciation of the beauties of foreign art, he never hesitated to claim for the English churches and cathedrals a degree of excellence not to be surpassed by anything on the Continent; but admitted that in domestic and municipal architecture, foreign countries supplied a multitude of beautiful examples not to be found at home. He was especially delighted with Nuremberg, and the picturesque features of this ancient city afforded him most interesting studies. Although fully alive to the merits of real art in whatever style it was found, still his deeprooted antipathy to classic forms unfitted him for receiving those strong impressions of satisfaction which people generally receive, from the contemplation of the magnificent buildings of Rome and the south of Italy. Nor does he appear to have modified his opinions in any material degree after examining them. For on his arrival at Rome he writes to a friend near Durham, in unmistakable terms, expressing his disappointment at the buildings in the Eternal City. He says:

'Rome, May 1st, (1847).

'I have now seen Rome and what Italian architecture can do, and I do not hesitate to say that it is an imperative duty on every Catholic to defend true and Christian architecture with his whole energy. The modern churches here are frightful; St. Peter's is far more ugly than I expected, and vilely constructed-a mass of imposition-bad taste of every kind seems to

Q

have run riot in this place; one good effect however results from these abortions: I feel doubly grateful for living in a country where the real glories of Catholic art are being revived and appreciated. In Rome it is hopeless, unless by miracle. I assure you I have felt quite depressed and miserable here; I shall be quite glad to get away. Were it not for the old Basilicas and the associations connected with the early Christian antiquities, it would be unbearablethe Sistine Chapel is a melancholy room, the Last Judgment is a painfully muscular delineation of a glorious subject, the Scala Regia a humbug, the Vatican a hideous mass, and St. Peter's is the greatest failure of all. It is quite painful to walk about; Italian architecture is a mere system of veneering marble slabs; it is enough to make one frantic to think, that these churches with their plaster pilasters and bad windows, have not only been

the model for all larger churches erected during the last two centuries, but have been the means of spoiling half the fine old buildings through the efforts that have been made to assimilate them to this wretched model. They must have had some fine things at one time, for there are several tombs and incised stones of the right character, and the subterranean church of St. Peter's contains several bishops and popes in fine chasubles, &c. I hope you will tell everybody that this is the place to confirm people in the true style, and I can now speak of all their matters from personal observation. I leave here