wich, Hammersmith, Pontefract, and Fulham; St. John's, Walham Green; St. Edward's near Ware; St. Martin's, Buckingham; St. Wilifred near Alton; St. Barnabas Nottingham, with a convent and chapel in the same town; St. Bernard's church and monastery, Leicester; the convents of the Sisters of Mercy at Birmingham, Liverpool, and London; St. Gregory's Priory, Downside near Bath; colleges at Radcliffe, Rugby, and Maynooth, Ireland; being engaged on the latter by the Government of the time. The Roman Catholic cathedrals of Killarney, Enniscorthy, and St. George's, Southwark, with the schools, priests' houses, and other offices connected therewith; also Sibthorpe's almshouses, Lincoln; schools at Stone; chancel, Winick (one of his finest works); restoration of Tofts, near Brandon; his magnificent plans, which were never executed, for the entire restoration of Hornby Castle, for the Duke of Leeds; the partial rebuilding of Alton Towers, for the late Earl of Shrewsbury; the entire rebuilding of the castle on Alton Rock; the church, hospital, and schools of St. John's, Alton; the Jesus Chapel near Pomfret, for the late Miss Tempest; the cathedral church at Uttoxeter ; the restoration of Jesus College, Cambridge; the chantry of the late Lady Sutton; the chapel at Danesfield, for Scott Murray, Esq.; the Catholic church at Lynn; the completion of St. Mary's College, Oscott; St. Wilfrid's, Manchester; the design he prepared for the cathedral of St. John's, Salford, which building was afterwards erected by Mr. Hadfield, as Pugin

could not be induced to give way on some point of principle; the chapel in Douay College; the restoration of the parish church at Winswold; the Catholic church at Salisbury; St. John's, Kirkham; the church of St. Mary's, Southport; the church of St. Oswald's, Old Swan, near Liverpool; the church of our Lady of the Annunciation, Bishop Eton; the convent at Bermondsey; the completion of St. David's, Barnstaple ; the convent and school at Nottingham; the church, and restoration of Grace dieu Manor, for Ambrose Lisle Phillipps, Esq.; the chapel for Sir William Stuart, in Scotland; the magnificent designs prepared for St. Margaret's cathedral, Edinburgh; the church at Whitwick; the church of St. Augustine, Solihull; the church of our Blessed Lady, Dudley; the church of St. Peter's, Great Marlow; the tower and spire of St. Mary's, Edinburgh; St. Stephen's, Blargowrie; Scarisbrick Hall, near Ormskirk; the Catholic churches of Tagote and Gorey, and several other churches in Wexford; the convent and church at Parson's Town; the convent and church at Waterford; the convent at Gorey; the Catholic church at Guernsey; the Catholic church, Macclesfield. He also designed many churches for Australia, and the other colonies.

It was not likely that Pugin would be extensively engaged by the clergy and friends of the Anglican Church; in some few instances only was he consulted by these authorities on the restoration of their churches. His time and energies were so devoted to Catholic buildings that few private gentlemen applied to him

for domestic mansions. Still mention must not be forgotten of Scarisbrick Hall, Bilton Grange, Warwick; Lord Dunraven's seat at Adare in Ireland; Mr. Drummond's house; restorations to Chirk Castle, Denbighshire, for Colonel Biddulph; gateway and chancel of the church at Pepper Harrow, for Lord Middleton; and his magnificent designs for Hornby Castle, for the Duke of Leeds.

CHAPTER XXII.

General Retrospect of the Progress of Modern Architecture-Peculiarities of Lombardo-Gothic-Pugin's treatment of Medieval Archi tecture-Recognition of the labours of Architectural Authors preceding Pugin's time.

DWELLING upon what Pugin accomplished, especial reference must be made to the period and the state of architecture at the time when he commenced his studies. Without entering into the interminable question as to the merits and fitness of either the classic or mediæval styles (for the battle of the styles is now being fought with greater violence than in Pugin's days), it must be borne in mind that the then prevailing taste was in favour of Greek architecture. The learned and beautiful publications of the Dilettante Society, the acknowledged ability and skill of those architects who had devoted themselves to the investigation of classic remains, were the plausible means of introducing the claims of a style of art, practised by the polished people of Greece; little effort however was made to modify the antique types, and make them applicable to modern wants, or to meet the requirements of our

more northern climate; but a system sprung up of minutely copying both the general designs as well as details of temples and monuments of heathen character, applying them indiscriminately to churches, theatres, asylums, and institutions of every kind. Well-proportioned porticoes without any reference to their positions; pediments where roofs could never exist, and multitudes of like inconsistencies, were continually erected. It seemed a sufficient warrant for expecting public approval that an undoubted antique example was followed, without any regard to its fitness or congruity.

Added to these misapplications, a further evil prevailed of executing buildings with an extent of unreality which had never hitherto been known in this country. The earlier period of the Georgian Era, if not remarkable for the pure taste to be found in the public structures then built, at least exhibited some admirable examples of sound brickwork and durable stone; roofs substantially constructed with oak and fir, either covered with lead or Westmoreland slate; elaborately wrought iron-work, as well as bold and effective carving. But in the early part of the 19th century, cements of all kinds for facing and ornamentation took the place of real good brick or stone. Walls were built of mere rubbish coated with cement jointed and coloured to look like stone, and numberless other cheap and tricky artifices resorted to for outward appearance, showing a total disregard to constructive honesty.