Royal Institute of British Architects, was established as a memorial after his death.
An indomitable energy was the basis of Pugin's character; his guiding principle was his belief in Gothic architecture, and his reputation lies in his chronological position as a Gothic artist. It may almost be said that he was the first to reduce to axioms the fundamental relationship of structure and ornament in architecture, and the first productive architect of modern times who gave a complete, serious, and rational study to the details and inner spirit of mediæval architecture. A few contemporaries were working on the same conscientious lines, but they recognised him as their leader. His work is open to adverse modern criticism, and shows certain errors in the light of later knowledge. Occasionally it exhibits a meagreness in the use of materials, which, to do Pugin justice, is often attributable to false economy on the part of his clients. None the less it was in its day the most sincere, most faithful, and most Gothic work that had been executed in England since the fifteenth century.
In the midst of his pressure of work Pugin formed an extensive library of books bearing on mediæval art and worship. A fine collection of prints, carvings, enamels, and objects of ancient art also adorned his Ramsgate house. As a landscape artist in water-colour he displayed appreciable skill.
Pugin was of moderate stature, rather thick set, with a heavy complexion, high brow, and keen grey eyes. Quick in movement, a frank and voluble talker whether at work or at table, master of a fund of anecdote and a dramatic manner of narration, he fairly overflowed, when in health, with energy and humour. His hands, which worked in drawing with marvellous rapidity, were thick and dumpy, with short fingers tapering off to small tips; in these a stump of pencil, his compasses, and a carpenter's rule, sufficed for even the most elaborate work; and he could turn out his exquisite drawings under the most untoward circumstances—even in a Ramsgate steamer rolling off the North Foreland.
The chief portrait of Pugin is the oil-painting by J. R. Herbert, R.A., now in the possession of the Pugin family, which is only moderately good as a likeness. It was etched by the painter, and a lithograph from it by J. H. Lynch was published, with a short memoir, in the first issue of the ‘Metropolitan and Provincial Catholic Almanac,’ 1853. A different lithograph portrait of Pugin in youth is printed in Ferrey's ‘Reminiscences.’
Although chiefly employed by Roman catholics in his ecclesiastical designs, the restorations at St. Mary's, Beverley, and at the parish churches of Wymeswold, Leicestershire, and Winwick, Lancashire, are examples of his work for the church of England. The following are the principal works which have not already been specially mentioned: The cathedrals of Southwark (St. George's), Killarney, and Enniscorthy; churches at Liverpool (St. Edward and St. Mary); Kenilworth; Cambridge; Stockton-on-Tees; Newcastle-on-Tyne; Preston; Ushaw; Warwick; Rugby; Northampton; Stoke-on-Trent; Woolwich; Hammersmith; Pontefract; Fulham; Walham Green; St. Edmund, near Ware (with adjoining buildings); Buckingham; St. Wilfrid, near Alton; Nottingham (with a convent and a chapel); Lynn; St. John, Salford (design not carried out); Salisbury; Kirkham; Whitwick; Solihull; Great Marlow; Blairgowrie; Guernsey; besides various designs for Australia and the colonies. Conventual buildings at Birmingham, Nottingham, Liverpool, London, Bermondsey, Waterford, and Gorey; St. Bernard's Monastery, Leicestershire; a small chapel at Reading, a chapel and convent at Edge Hill; the Jesus Chapel near Pontefract; colleges at Radcliffe, Rugby and St. Mary's Oscott (completion); Sibthorpe's almshouses, Lincoln; the restoration of Tofts, near Brandon, a chapel for Sir William Stuart in Scotland; the church, and restoration of Grace Dieu Manor for Ambrose Lisle Phillipps, and the gateway of Magdalen College, Oxford. He made plans (which were never executed) for the rebuilding of Hornby Castle for the Duke of Leeds; and his domestic work was further represented by Scarisbrick Hall, Lancashire; Bilton Grange, Warwick; Lord Dunraven's seat at Adare, co. Limerick, in Ireland, and the restorations at Chirk Castle, Denbighshire. A fuller list (not, however, free from inaccuracies) will be found in Ferrey's ‘Recollections.’
J. G. Crace, the decorative artist, who was engaged in much of the work at the houses of parliament, was associated with Pugin in the carrying out of many of his designs for interiors, such as Eastnor Castle, Leighton Hall, near Liverpool, and Abney Hall. He also executed from Pugin's cartoons a set of stained-glass windows for Bolton Abbey. Among builders Pugin preferred and generally employed a man named Myers, whose enthusiastic and rugged temperament suited his own.
In addition to his more important architectural works, mentioned above, Pugin published: 1. ‘Designs for Gold- and Silver-
