of the rapidity with which he sketched can be formed by anybody who has not seen him draw. The several volumes of beautiful outlines in the possession of his family, afford the most convincing proof of his wonderful power. Great as this gift was, it would never have secured for him the lasting honour attached to his name: the great Fundamental Principles' which Pugin revived and laid down could alone do this.

Scarcely reaching the middle age of man, Welby Pugin lived to see the whole state of architecture revolutionized by the standard which he himself had raised. A long war had utterly erased the last germs of truth, principle, and beauty in architecture. Gothic was no longer thought of, except for the purposes of an artificial ruin, or an absurd castellated mansion; for ecclesiastical purposes it was alone known. The schools of Wren and Jones had passed their day, and were dead, even the red brick buildings of the early Georgian era, with their protruding stone quoins, and heavy pediments, and truthful panellings, had been forgotten in the universal decay. Europe had suffered too long from an utter absence of art, not to have been eager and hungry for a change. Public taste looked, but hoped in vain, for a movement to emanate from the ranks of the profession. All felt the existence of the void; many sought for an external expression of their times, and some called for a renewal of the glories of the past. These were answered by the efforts of Rickman, the researches of Carter, the theories of Milner, and the examples of the elder Pugin and others.

These accomplished nothing but the galvanism of the ancient body. Gothic buildings Rickman produced it is true. The tree bore a strong resemblance to the old one; it had stem, branches, and even leaves, but one thing was still wanting-it had no root. The spikey pinnacles, cast-iron tracery, consumptive and attenuated columns, showed at a glance that the sap was wanting, and where it had begun it must end, and would germinate nothing. One man only could be found sufficiently bold, and sufficiently devoted, to realize the colossal works which all felt were wanting. The wit, humour, and exaggerated views adopted by Welby Pugin for the accomplishment of the revolution, were often personally abusive, always painful, and sometimes dangerous. But they were weapons to achieve victory, and instruments for effecting great results. Others tried different roads and failed, whilst the mass of men wallowed in the vulgar utilitarian style of the nineteenth century; a few carried away by the enthusiasm, but without a knowledge of the grammar, followed only in a servile manner, the glory of extant examples. All were found wanting. Some men must be judged, not by their accomplished works, but by their conceptions; the buildings Pugin has left behind him are nothing in comparison to his splendid theories. England called for a renovation, Welby Pugin answered the summons. The country looked for the spirit of reformation, Welby Pugin imposed upon her the despotism of the ancient art, whilst giving her the alphabet by which to form her own expression.

To the hopes of the Anglicans he replied by submission to the Roman Catholic Church. Few men were ever destined to accomplish more, yet his greatest works were to be realized only in theory.

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 CatholicsA Memorial in honour of his memory, founded by the Protestants, to perpetuate the great service he rendered to Architecture.

THE following eminent qualities are observable in Pugin's eventful life. First, his untiring industry: from the time he began his professional career to the moment of his fatal malady, no day was ever wasted by him. His vigorous mind was always at work; a simple change in the object of his pursuits afforded him the only kind of recreation he desired. He entirely abstained from light and frivolous amusements. From the moment he embraced the tenets of the Roman Catholic Church, to the close of his life, he laboured incessantly in promoting true art in connection with the structures and ceremonies of that Communion. His devotion was intense, and has never been duly appreciated nor acknowledged by the most eminent members of that Church.

His independent spirit was not less remarkable. He would rather forego great pecuniary advantage than lend himself to carry into execution any building which he knew to be inconsistent with the principles

of design he had promulgated. This exercise of consistency is deserving of great praise. Whatever he laid down in theory he carried into practice, setting a noble example, unhappily not always followed by present fortunate professors, who seem to possess less power of abnegation than belonged to the great revivalist.

His impartiality was also conspicuous towards his professional contemporaries. He rarely engaged in public competitions, though often invited to do so, and therefore was not brought into collision with them. Yet on many occasions, when his opinions were sought (towards the end of his career), he eulogized the talents of the rising young men whose works deserved praise. No mean or petty jealousy ever actuated him. He desired to see the glories of ancient art revived, and whoever furthered that object received from him due share of commendation.

Various as have been the reports regarding the motives and tendency of his religious life, in consequence of his having separated himself from the Church in which he was baptized, yet it is impossible to doubt this momentous step was taken under a deep conviction that his soul's welfare was in peril. This overwhelming consideration eventually impelled him to enter the fold of the Roman Catholic Church, though by his own admission he was at first drawn towards her through the fascinating influence of art. His earnestness in the cause of Catholic art was immense, and his sincerity patent to the world by the costly