The work of E. W. Pugin

Re: The work of E. W. Pugin

Postby gh78 » Fri Oct 06, 2006 10:27 am

I would like to know if you have any information/photos/records about EWP's work on Our Lady and St Hubert's church in Great Harwood, Lancashire.

I have recently been in touch with a descendant of James Lomax who provided the funds to build the church.

Thanks!
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Re: The work of E. W. Pugin

Postby gh78 » Fri Oct 06, 2006 11:09 am

The Church was designed by Edward Welby Pugin, son of Augustus Welby Northmore Pugin famous for his work on the Houses of Parliament. Pugin senior died at an early age and his work was continued by Pugin Junior who completed his fathers commissions and went on to become internationally famous in his own right.

Is there any way to confirm that the church in Great Harwood was actually designed by AWNP?

gh78 wrote:I would like to know if you have any information/photos/records about EWP's work on Our Lady and St Hubert's church in Great Harwood, Lancashire.

I have recently been in touch with a descendant of James Lomax who provided the funds to build the church.

Thanks!
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Re: The work of E. W. Pugin

Postby Fearg » Fri Jan 05, 2007 2:10 am

Some news regarding Gorton monastery & the high altar:

http://www.gortonmonastery.co.uk/news.html
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E. W. Pugin: Euxton Hall Chapel

Postby Andrew Gray » Mon Jan 29, 2007 8:19 pm

Hello, I am wondering if you or anyone subscribing could possibly help me? I am desperately looking for any information/drawings/plans, etc, regarding a small Private Chapel in Euxton Lancs that has been confirmed as being designed by E W Pugin. The chapel concerned is within the grounds of Euxton Hall and was commissioned by the Andertons who owned the estate at the time. It is a miniture (sisiter church) to the nearby St Mary's Church and was re-built at the same time (1865-1866). The Chapel has many typical Pugin architectural features, Maw and co floor tiles similar to those in Westminster, and also a beautiful Hardman stained glass window. Any information would be much appreciated.
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Re: The work of E. W. Pugin

Postby Praxiteles » Tue Jan 30, 2007 1:36 am

The Pugin Society may be able to help here:

http://www.pugin-society.org/
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Re: The work of E. W. Pugin

Postby corinne mills » Tue Nov 20, 2007 4:33 pm

sangallo wrote:I have already posted some information about All Saints Church, Barton-upon-Irwell, on the "reordering and destruction" thread. Here is some more information from English heritage on this great E.W. Pugin church, which is on the Grade I heritage list.

Roman Catholic church. 1867-8. By E. W. Pugin. Rock-faced stone with slate roof. Nave, aisles, west bell turret, apsidal chancel with north chapel. Gothic Revival. 8-bay nave and aisles with weathered plinth, weathered buttresses and gabled porch. Each bay has a 2-light plate tracery aisle window with hoodmoulds and sill band and 2-light Geometrical tracery clerestory windows with continuous hoodmould. Steep roof with coped gables and pierced ridge tiles. West rose window above arcade of pointed lights and arched doorway all flanked by bold weathered and gableted buttresses. 4-bay polygonal chancel with 2-light plate tracery windows in each bay below a series of coped gables. Grotesque gargoyles. The 3 x 1 bay side chapel has a steep hipped roof and similar gables above each bay which interrupt a parapet with pierced quatrefoils. Interior: arcade arches, piers and chancel arches all in banded pink and yellow stone. Well carved foliage capitals. Lofty scissor-braced roof structure springing from angel corbels. Rib-vaulted chancel lavishly gilded. Elaborately carved stone altar and reredos. Good wall paintings, one showing E. W. Pugin with a plan of the church. Timber pews. Stained glass. A notably complete and unspoiled example of E. W. Pugin's work, said to be his best.

I don't know if All Saints' is E. W. Pugin's best work - I am inclined to think it is St Colman's Cathedral, Cobh - but it certainly ranks well up there with Dadizele Basilica and Gorton Monastery. But readers of this posting may have different opinions on this.

Unfortunately, I have not yet been able to find a photo of the interior, but here is another photograph of the exterior:


You may be interested in this old postcard of the interior of the Irwell church

Image
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Re: The work of E. W. Pugin

Postby Hiivaladan » Tue Nov 20, 2007 7:28 pm

Did anybody see the TV programme about him that was shown on Monday night this week?
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Re: The work of E. W. Pugin

Postby Rory W » Wed Nov 21, 2007 3:12 pm

Time Team Special about the restoration of his (AW Pugin) house? Interesting enough although suffered from the usual problem of repeating the same point 4 or 5 times (in case you forget) - which tends to be a real annoyance in documentaries these days
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Re: The work of E. W. Pugin

Postby KerryBog2 » Fri Dec 07, 2007 1:58 pm

From The Economist

God's Architect: Pugin and the Building of Romantic Britain
By Rosemary Hill Allen Lane; 416 pages; £30
Gothic's moral superiority
Aug 9th 2007

A marvellous biography of the architect who built glorious cathedrals—and filled Britain with buildings that vaguely resembled medieval monasteries

ONE of Augustus Pugin's many jobs in his teenage years was to scurry around the rafters at Covent Garden, pulling on ropes to produce the extravagant illusions that the theatre-goers below were so fond of. It was dangerous work, high up in the dark and with heavy flats moving at high speed. There were dangers after the show was over too. In early 19th-century London, prostitutes used the empty boxes for business and the air of licence that came with the theatre appears to have got to anyone who hung around it.
This was not the place for the pampered son of a French artist, whose hazy origins hinted at aristocracy and the guillotine and a well-born mother whose income never quite matched her status. Pugin was headstrong, though, and his parents were too delighted with their son to ban him from the opera house. The attic of their Bloomsbury house was converted into a model theatre, complete with special effects, where Pugin could play at producing dramas in light and shade.
The first three decades of his life were lived at a pace that makes other prodigies look like slouches. He drew his first commission for King George IV, a design for a gothic sideboard for Windsor castle, at the age of 15. While still a teenager, he painted architectural theatre sets and assisted his father in the production of architectural illustrations. With the money he got, he decided to buy a house. His father vetoed this idea, so Pugin bought a boat which he sailed up and down the Thames. By 20 he was married and a father.
Then came the deaths. Anne, Pugin's wife, died shortly after childbirth. A year later his doting parents, whose support had freed him, were dead too. His inheritances were enough money to build his own house on a plot of land near Salisbury and, more to the point, a gothic imagination that peopled his dreams with ghosts and sleepwalkers, and his waking with strainer arches and coloured glass.
Despite Pugin's brilliance, this was not an obvious recipe for success. Happily, though, his adulthood coincided with changes in 19th-century Britain that made his peculiar talents fashionable. The flouncy Regency era, symbolised by John Nash's Brighton pavilion (where, Rosemary Hill writes, “the Prince and his guests sat down, in a building that looked like a giant pudding, to enjoy puddings that looked like little buildings”), was passing away, to be replaced by a more purposeful early Victorian age. The landscape was changing fast too, as people moved from the land to the squalor of the cities. There were many critics who objected to the pace and results of industrialisation and thus were receptive to the feelings of romance, piety and nostalgia that the gothic style produced in its admirers.
Pugin built and built: cathedrals, churches, schools, stations, there was no limit to it. He backed his style with a polemical assault on his architectural foes. To those who thought his gothicism backward, he pointed out that classical architecture was not only older but more foreign than his beloved gothic. Gothic also had a moral claim to superiority. This was not just because it was in vogue before the Reformation, which Pugin, who converted to Catholicism, identified as the beginning of the end. Gothic also invoked the spirit of the medieval monastery where a softer charity had prevailed, unlike the kind in those ghastly new workhouses.
Some of the arguments Pugin made in favour of purity of style and against frippery would be turned on him later by the pioneers of modern architecture, who thought the gothic revival looked ridiculous. His ideas were also taken up by John Ruskin, and used against him. But the decline of Pugin's reputation was well under way during his own lifetime. Being “architect to one grate or one fireplace is worse than keeping a fish stall,” he complained when commissions for buildings dried up, to be replaced by bits of interior design.
Pugin's career ended at the age of 40, when he lost his mind. He was admitted to Bethlem hospital in Southwark, opposite one of his greatest buildings, St George's cathedral, taken home and died within the year. In this excellent book, the author suggests that Pugin had caught syphilis when he was a teenager working in the theatre where he first fell for the light, shade and drama of architecture.
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whatever happened to Gorton.

Postby apelles » Tue Dec 08, 2009 10:45 pm

Gorton Monastery wins top property honour



By Chris Barry - Editor
THE restoration of Gorton Monastery, the stunning 19th Century former friary in east Manchester, has been named the top North West building project at the property sector's annual awards.
The Monastery - one of the finest examples of High Victorian Gothic architecture in the world - which has been saved from ruin by a £6.5m restoration, was crowned Project of The Year by judges at the Royal Institution of Chartered Surveyors' 2009 awards.

Seven other projects were awarded prizes at the awards evening held at the City of Manchester Stadium, where the North West’s most impressive buildings and property schemes were commended.

Widely regarded as the region’s property ‘Oscars’, the awards recognise and celebrate inspirational initiatives and developments in land, property, construction and the environment.

The categories included; building conservation, commercial, community benefit, design and innovation, regeneration, residential, sustainability and tourism and leisure.

Gorton Monastery won the overall Project of the Year accolade – the top-rated award presented to a nominee that excelled across all eight categories and above all other submissions.

The Monastery, once listed as one of the top 100 endangered sites in the world, was awarded the honour for its outstanding entry which scooped the building conservation award. The £6.5m restoration project is now a tourist attraction and also hosts corporate events and weddings.

Other winners on the night were the Liverpool One shopping centre, which won in two categories, and Edge Hill University in Lancashire claimed the award for sustainability. All the winners will be entered into the national RICS awards later this year, where they will compete against building projects from across the UK.

RICS chairman of the judging panel, Andrew Kellaway said: “We have seen some truly inspirational projects this evening, which proves that property professionals across the North West are still showing their innovation, creativity and commitment to sustaining and improving the property landscape.”

Mr Kellaway concluded: “The awards symbolise excellence in the North West property and construction sector and provide an invaluable opportunity for the region to celebrate and showcase its exceptional projects. There is some fantastic work being done which deserves to be championed and celebrated.”
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