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 houseBad effects from associating with low society-Establishes an Art Manufactory-Improved condition of Art-Workmen-Failure of the

Scheme.

We now arrive at a period in Welby Pugin's life when, through mere accident, a totally new direction was given to his tastes. During his engagement on the works in connection with Windsor Castle he formed an acquaintance with a person of inferior position, who, amongst other occupations, was employed at night in a subordinate station in the management of the stage scenery at Covent Garden Theatre. This man's description of the scenery, property, and machinery of the stage filled Pugin's youthful imagination with a longing to see the concealed mechanism used for stage effects.* It must be borne in mind that, although entrusted with the important business just mentioned, he was yet but a boy of fifteen years or little more, and never till

* In a diary which Pugin now began to keep is the following entry: 'June 26, 1827. Designed furniture for Windsor Castle. While at Mr. Morel's I became acquainted with a person called George Dayes, son of the celebrated artist of that name, and it was through him that I first imbibed the taste for stage machinery and scenic representations, to which I afterwards applied myself so closely.'

this time had entered a theatre or witnessed any dramatic representations, the strictness of his mother's principles and domestic regulations being a bar to his attendance at any theatrical performances.

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Pugin's first admission behind the stage seems to have filled him with wonder. The complicated and interesting mechanical contrivances were things of which he had not the slightest previous notion; but his quick perception soon assured him that these admitted of great improvement and might be made to produce far more magical results than had yet been seen. saw defective design adopted in scene painting, and immediately determined to effect some reform in the scenic department. An introduction being obtained to Messrs. Grieve, the well known scene-painters, he obtained, through them, some knowledge of the art of distemper painting on canvas, and the peculiar colours used; and thus he became enabled to paint scenery, designed by himself in the medieval style.*

* The author of 'Self-help, with Illustrations of Character and Conduct,' gives an account of Pugin's connection with theatres which is founded upon a mistake. He was attracted to the pursuit of theatrical mechanism by accident; it occurred at the time that he was engaged in designing the furniture for Windsor Castle. The man who cleaned his drawing-boards, rubbed up Indian ink, and did other duties in the office, happened to be a scene-shifter at Covent Garden Theatre; this fellow was sharp, had a good memory, and could imitate cleverly the voices and mannerism of comic actors. When Pugin required him to do anything, he invariably replied in a droll manner, adding gesture, and imitating the voice of some well-known actor. This amused Pugin amazingly, and he was persuaded to accompany this man one evening behind the scenes; once there, it was not difficult to foresee what would happen, and in order that he might repeat his visits, it is not improbable that he made himself useful; for otherwise he would not

There was certainly a wide opening for any one possessed of talents to improve all the accessories of the stage; for though the Messrs. Grieve and others produced beautiful landscapes, yet whenever architecture was depicted a total absence of knowledge was shown. The most absurd incongruities were called Gothic, and compositions full of the grossest anachronisms presented to the public as genuine forms of architecture. Young Pugin was just the man to correct these errors in judgment, and he no sooner set about it than he achieved great success. Historical operas were then most popular, and they afforded a wide scope for the introduction of beautiful scenery and costume. The manager of the Italian Opera, hearing of Welby Pugin's known skill in medieval art, sought his assistance, and commissioned him to design all the scenery for the new opera of Kenilworth brought out in the season of 1831. A better subject for the exercise of his genius could scarcely have been found; he designed, and had executed under his own control,

have been permitted on the stage through the mere introduction of a menial. He soon made acquaintance with Bartley the stage-manager, the Messrs. Grieve, and others, all of whom he aided in some degree by his natural genius. So again his purchase of a sailing ship was not with a view to making a profitable trade-it was a youthful frolic; neither of these pursuits were chosen with the intention of improvement, through the discipline of labour.' He was fond of the sea, and it was most natural that he should use his pencil when on landing at any place he saw interesting buildings, which might furnish illustrations for his publications. That he carried on a little commerce while cruising about is quite true, and would often burst into a fit of laughter when accosted as an egg merchant by some of his friends, in allusion to his freight.

all the scenery for this interesting historical opera. Its production created a great sensation, presenting as it did in all its features one of the most gorgeous and correct representations which had hitherto been witnessed. The architectural portion of this spectacle, which was considerable, showed great originality of treatment, being in striking contrast with the old and ill-painted scenes, wings, and sky-pieces which formed the staple for all scenery no matter in what age or country the story of the opera might be laid. The great success which attended the performance of this opera was almost entirely due to the attractiveness of the scenery and costume. So completely did the mania for theatrical representations enthral him that he was for ever making experiments in order to produce startling and novel mechanical changes, and he made himself acquainted with all that had been written and published on the subject; but little was to be obtained either from the designs of Peruzzi or any more modern artist. The only man in comparatively recent times who devoted attention to the subject was Inigo Jones, who displayed great fancy and talent not merely as a scene painter, but in producing pageants and masques, and planning the decorations and machinery for them. Perhaps Pugin might claim to have done as much in his way for producing correct representations of the pageants of the middle ages. With a view to help him in this pursuit his parents allowed him to convert the upper floor of their house in Great Russell Street into a model theatre. This he

did at much expense, removing the attic ceiling, cutting away the roof, constructing cisterns, and adapting everything necessary to his object. On this model stage he designed the most exquisite scenery, with fountains, tricks, traps, drop-scenes, wings, soffites, hilly scenes, flats, open flats, and every magic change of which stage mechanism is capable. Large parties were invited to witness his performances, and probably a more skilfully made model theatre had never been seen. It was not a toy in any sense of the word, but a piece of construction sufficiently large to enable Pugin to exhibit experiments and study compositions before they were adopted on the actual stage. The intricacy of the mechanism was surprising, but every part was so admirably adjusted that the changes in the scenes, wings, and sky-pieces were effected with marvellous rapidity, for it was provided with lines, pulleys, grooves, balance weights, machines for ascents and de. scents, &c. His connection with the theatrical world was not of long duration; it served to gratify his taste for a while, but his impulsive mind could not rest satisfied with mere fictitious representations of buildings. His desire was to carry into reality some of the designs which he so skilfully indicated upon a small scale. The gradual steps by which he succeeded in accomplishing his wish will appear in the sequel; but as earlier in life the duties of his father's office became utterly insupportable to the active mind of Welby Pugin, so now his scene-painting and other theatrical engagements had no longer any attractions.