Pugin and Absolute Gothic

At the Imaginative Conservative site, James Baresel discusses the connections artists and architects made between the neo-Gothic style and social issues, including economics in the Victorian era. He asks the question, "Should Christians Romanticize the Middle Ages?" and comments on A.W.N. Pugin's absolute commitment to "medievalism":

The leading light of the romantic neo-Gothic architectural movement was Catholic convert Augustus Welby Northmore Pugin. Perhaps no man has even taken medievalism to a greater extreme. His goal was nothing less than a restoration of England not just to Catholicism, but to a medieval English Catholicism as part of a restoration to what he considered to be an overall medieval way of life. Late-thirteenth and early-fourteenth-century Gothic was to him both an apogee of architectural development and a permanent set of canons for particular categories of buildings. Such structures as railway stations that lacked a medieval precedent were to be designed upon the basis of “Gothic principles.” Priests were to be clad in Gothic vestments while celebrating Mass. When Blessed John Henry Newman planned an introduction of the Oratory of Saint Philip Neri into England, Pugin objected on the grounds that the Oratorians had always been Italian with no historical connection to England and were grounded in the spirituality of the Counter-Reformation rather than in any way medieval. Upon visiting Rome, Pugin found himself detesting perhaps the greatest achievements of Catholic art and architecture in history—the Renaissance and the Baroque of the great basilicas—due to their ornate beauty and because he, in all seriousness, considered them to be pagan.

To articulate his vision for English society, Pugin published Contrasts, contrasting scenes from early industrial England with what he believed to be his country’s medieval past. He went far beyond pointing out that life for many in the Middle Ages was in fact more tolerable than life in the early factories. Medieval life was depicted as all but idyllic, his own age as an absolute disaster. Some of the contrasts in the book propagandistically showed a medieval town with rising (Gothic) church spires next to a nineteenth-century town with rising factory chimneys. In other cases, images of Gothic and neo-classical churches were placed next to each other on what must have been the assumption that the reader would inevitably consider the former to be the more beautiful. And, of course, Gothic architecture and its influence on peoples’ minds was alleged to be an essential element of creating a desirable state of society.

Read the rest there.

I am always troubled by how Pugin almost seems to exalt the Gothic above Catholicism itself by insisting that Gothic art and architecture was absolutely essential to worship and prayer. I always appreciate the beauty of a church and I do favor the Gothic style, but I also know that true sacramental worship doesn't depend on the style of architecture. For Pugin to have protested against the Oratory of St. Philip Neri being established in England because it "had always been Italian with no historical connection to England" certainly ignored how international medievalism was. After all, the Gothic style originated in France! Catholicism is indeed universal and should not be identified with only one period or culture.

Happy 203rd Birthday to A.W.N. Pugin

Augustus Welby Northmore Pugin was born on March 1, 1812 in London. His parents were emigres from the French Revolution and his father, Augustin Pugin was an architect. He set his son to drawing Gothic buildings. His interest in Gothic architecture led him to study the Catholic faith and A.W. N. Pugin joined the Catholic Church in 1835.

On the Continent, Eugene Viollet-le-Duc's career is roughly coterminous with Pugin's and both contributed to the revival of Gothic architecture. Viollet-le-Duc was more interested in restoration of Gothic cathedrals, churches, and castles throughout France. Pugin was convinced that Gothic was THE style for Christian buildings. He wanted not only to design churches and cathedrals in the Gothic style but to furnish them and decorate them throughout--designing every aspect of the building. Unfortunately, his patrons did not always have the money necessary to complete all that work.

When the Catholic hierarchy was restored in 1850 after emancipation in 1829, of course, Catholics had to build a new infrastructure: churches, cathedrals, convents, monasteries, schools, and seminaries--there was a lot of work to do! In collaboration with John Talbot, the sixteenth Earl of Shrewsbury, Pugin designed and built 14 chapels, schools, etc between 1836 and 1848 in Staffordshire. He also worked in Ireland, especially in County Wexford in the late 1830s and throughout the 1840s. He travelled on the Continent, visiting France and the Netherlands, but did not go to Rome until 1847--where the Renaissance and Baroque architecture of the churches disappointed him. (I think there is only one truly Gothic church in Rome, Santa Maria Sopra Minerva.)

He was only 40 years old when he died. He suffered from mental illness and tremendous stress--and perhaps syphilis, according to his major modern biographer, Rosemary Hill. His sons Edward Welby and Peter Paul continued his work in their partnership, Pugin and Pugin. E.W. Pugin also died at the age of 40, in 1875 and Peter Paul finished several of his works in progress and maintained the family style.

Gracewing publishes several books by and about Augustus Welby Northmore Putin, including THE TRUE PRINCIPLES OF Pointed or Christian Architecture and AN APOLOGY FOR The Revival of Christian Architecture. The bicentennial of his birthday was celebrated in 2012--find more background on that celebration here.

A.W.N. Pugin, March 1, 1812

Augustus Welby Northmore Pugin was born on March 1, 1812 in London--200 years ago!His parents were emigres from the French Revolution and his father, Augustin Pugin was an architect. He set his son to drawing Gothic buildings. His interest in Gothic architecture led him to study the Catholic faith and A.W. N. Pugin joined the Catholic Church in 1835.

On the Continent, Eugene Viollet-le-Duc's career is roughly coterminous with Pugin's and both contributed to the revival of Gothic architecture. Viollet-le-Duc was more interested in restoration of Gothic cathedrals, churches, and castles throughout France. Pugin was convinced that Gothic was THE style for Christian buildings. He wanted not only to design churches and cathedrals in the Gothic style but to furnish them and decorate them throughout--designing every aspect of the building. Unfortunately, his patrons did not always have the money necessary to complete all that work.

When the Catholic hierarchy was restored in 1850 after emancipation in 1829, of course, Catholics had to build a new infrastructure: churches, cathedrals, convents, monasteries, schools, and seminaries--there was a lot of work to do! In collaboration with John Talbot, the sixteenth Earl of Shrewsbury, Pugin designed and built 14 chapels, schools, etc between 1836 and 1848 in Staffordshire. He also worked in Ireland, especially in County Wexford in the late 1830s and throughout the 1840s. He travelled on the Continent, visiting France and the Netherlands, but did not go to Rome until 1847--where the Renaissance and Baroque architecture of the churches disappointed him. (I think there is only one truly Gothic church in Rome, Santa Maria Sopra Minerva.)

He was only 40 years old when he died. He suffered from mental illness and tremendous stress--and perhaps syphilis, according to his major modern biographer, Rosemary Hill. His sons Edward Welby and Peter Paul continued his work in their partnership, Pugin and Pugin. E.W. Pugin also died at the age of 40, in 1875 and Peter Paul finished several of his works in progress and maintained the family style.

More about the bicentennial celebrations here, and some notes about the home, church, and abbey he designed, built, and planned at Ramsgate here, including this delicious insight into Pugin's artistic work:

But he was also devout in a way that would strike us now as extreme. A Catholic convert, he believed that everything had been wrong with England since Henry VIII changed the national religion. He longed for a return of the great pre-Reformation Age of Faith, when monasteries dispensed charity to the poor, lords welcomed travellers beneath the hammer-beamed roofs of their halls, and church spires, not factory chimneys, soared over towns. He tried to realise his vision in, of all places, Ramsgate.

Not only did Pugin build a house, The Grange, at Ramsgate – note the monastic name – but, incredibly, given that he had to pay for every penny of the construction himself, a church. It is, as you would expect, one of his finest works, hard on the outside (it is built of the local material, flint) but, as its priest Fr Marcus Holden puts it, “a revelation of God’s glory within”. It is enriched with delicate stained glass, beautiful carving and a font that was originally made for the Medieval Court of the Great Exhibition. . . . Together, The Grange, St Augustine’s Church and St Augustine’s Abbey form the completest expression of what Pugin believed a revived Middle Ages could be – an inspiring testament to his genius, faith and hard work. Unesco should celebrate this anniversary by making them a World Heritage Site.