A most serious and important event in Pugin’s life, and one having much influence on his future career, occurred about this time—his conversion to the Catholic religion. There can be no doubt that his intense love of the past and his enthusiastic admiration of the glorious monuments of the ages of faith strongly biassed his mind towards this determination, though of course it was not these considerations alone that led him to take so important a step. His after-life proved how thorough was his faith and how sincere his piety.
This change of religion affected, in more ways than one, the professional career of Welby Pugin. From a pecuniary point of view it probably made little difference to him—as his talents were such as to insure for him constant work, and he already possessed independent means. But by this step he sacrificed what was far dearer to him, his future fame as an architect.
Never was there a more splendid opening for architectural talent than that very time when Pugin, in the first dawn of his genius, embraced the Catholic faith. Everything had combined to prepare a revival of Gothic art. The materials were already collected and awaited but the hand of a man of genius to make a practical use of them. The ritualistic movement had awakened the desire to restore the old and to build new churches. Rich men were ready to give unbounded wealth to further the enterprise. Had Pugin remained a Protestant, had he preferred fame to conscience, he might have found an easy road to it by availing himself of an opportunity so worthy the gifts of one eminently fitted to be a leader in a movement that combined religion and art. He preferred to return to the faith that had inspired those mediæval times he so fondly loved, and to risk his future reputation by offending that feeling which is so strong in Protestant England against converts. The Catholic who for centuries has kept his faith they can tolerate, nay, admire; but one who was their own and deserts them they find it hard to forgive.
Not only did Pugin, in thus affronting public opinion, bias the judgment of his contemporaries and of future critics, but he actually, by attaching himself to the poorest religious body in England, deprived himself of the means of adequately displaying his power.
During the next years that composed the short career of Pugin we find him working with an activity and enthusiasm that showed how all labor connected with his art was to him a labor of love. His pen and his pencil were alike devoted to its service. In 1836 he published his celebrated Contrasts—a work in which he compares with keen irony and scathing satire the buildings and institutions of the past with those of the present; in the sketches which illustrate it he delineates with wonderful humor all the weak points of modern architecture. His style of writing was flowing and easy, always highly picturesque and enthusiastic, but sometimes slightly inclined to exaggeration and eccentricity. It was this that made it so difficult for him to write without giving offence sometimes even to his own friends and co-religionists.
His next work was his True Principles of Pointed Architecture. It is but a short volume, consisting of two lectures delivered at St. Mary’s College, Oscott, but it forms a most complete elementary treatise on Gothic art, founded on the two great principles enunciated in its first page: “1. That there should be no features about a building that are not necessary for convenience, construction, or propriety; 2. That all ornament should consist of enrichment of the essential construction of the building.”
It is clearly shown that in these principles lies the true secret of all correct pointed construction and ornament, and that any analysis of Gothic work undertaken without taking them into consideration must inevitably lead to erroneous conclusions.
The truth of these principles is now universally admitted in works that treat of pointed architecture, but to Pugin belongs the honor of having first laid them down and having shown how important they were to the right understanding of the lessons handed down to us in the wondrous structures of the past.
His next work was An Apology for the Revival of Christian Architecture in England. It is a brilliant defence of Gothic art, intended specially to prove that it is still “the only correct expression of the faith, the wants, and climate of our country.”
As a specimen of Pugin’s amusing style when describing the incongruous productions of modern architecture, we cannot do better than quote the description of a nineteenth-century cemetery contained in this book; we only wish we could reproduce the delightful picture that accompanies the text: