A. W. N. Pugin
Spire Books Ltd, The Pugin Society Edition, 2003
Augustus Pugin (1812-1852) was a church architect who championed the Gothic style, the pointed architecture style of the Middle Ages.
In 1836 he wrote “Contrasts: or, A Parallel between the Noble Edifices of the Fourteenth and Fifteenth Centuries, and Corresponding Buildings of the Present Day; shewing the Present Decay of Taste.”
In 1841 he wrote, “The True Principles of Pointed or Christian Architecture.”
This reprint contains both books with introductions by Timothy Brittain-Caitlin.
Pugin wrote that church architecture should be a reflection of our Christian faith and should be made up of: crosses, triangles (representing the Trinity), and tall pointed arches (representing the resurrection):
“The three great doctrines, of the redemption of man by the sacrifice of our Lord on the cross; the three equal persons united in one God-head; and the resurrection of the dead, – are the foundation of Christian Architecture.
The first – the cross – is not only the very plan and form of a Catholic church, but it terminates each spire and gable, and is imprinted as a seal of faith on the very furniture of the altar.
The second is fully developed in the triangular form and arrangement of arches, tracery, and even subdivisions of the buildings themselves.
The third is beautifully exemplified by great height and vertical lines, which have been considered by the Christians, from the earliest period as an emblem of the resurrection.” Pages 3-4.
He illustrated the book with drawings, contrasting a correct ancient design with a modern corruption. For example, the altar. He first has a drawing of how it should look:
“the sacred mysteries are depicted in a mystical and devotional manner; the full, draped, and modest garments of the figures, the devout and placid position of the angels, the curtains, the embroidered frontal, the two candlesticks and cross, are all in strict accordance with Catholic antiquity and feelings.” Page 14:
He then gives two examples of how it has been corrupted in many modern churches.
One is the error of using a classical Greek style:
“we discern the fatal effects of revived Paganism. The loose and indecent costume and postures of the figures intended for saints […] the classic details devoid of any appropriate signification, the paltry and trifling taste of the ornaments, more suited to a fashionable boudoir than an altar for sacrifice” Page 14:
The other error is the reformation tendency to focus only on preaching the Word and ignore the sacraments:
“the effect of the destructive Protestant principles is depicted. The original imagery and tabernacle work of the altar screen have been mutilated and defaced: the altar […] has been plundered and demolished, and a cheap ugly table set in its place […] The royal arms, occupying the wonted place of the Redeemer […] In place of the original rich and splendid window, a few shattered fragments […] and these will probably be thrown away by the glazier in the next repairs.” Pages 14-15:
Pugin opposes additions to churches that don’t assist with the worship of God. He doesn’t mince his words when criticising the increasing number of monuments at Westminster Abbey:
“Westminster Abbey itself, by far the finest edifice in the metropolis (if cleared of its incongruous and detestable monuments) […] is continually being disfigured by the erection of more vile masses of marble. […] I was disgusted beyond measure at perceiving that the chapel of St. Paul had been half filled up with a huge figure of James Watt, sitting in an arm-chair on an enormous square pedestal, with some tasteless ornaments […] This is the production of no less a personage than Sir F. Chantrey. Surely this figure must have been originally intended for the centre of some great terrace-garden; it never could have been designed for the interior of the abbey: for so offensive is it in its present position, that if Sir Francis did really so design it, he deserves to be crushed under its great pedestal, to prevent him again committing so great an outrage on good taste.” Page 40.
119 years later, Pugin’s views were acted on. The Westminster Abbey website states: “In December 1960 the statue was removed from the Abbey as tastes had changed and it was far too large for its position” https://www.westminster-abbey.org/abbey-commemorations/commemorations/james-watt
Then on to his True Principles book:
“The two great rules for design are these: 1st, that there should be no features about a building that are not necessary for convenience, construction, or propriety; 2nd, that all ornament should consist of enrichment of the essential construction of the building. The neglect of these two rules is the cause of all the bad architecture of the present time. Architectural features are continually tacked on buildings with which they have no connexion, merely for the sake of what is termed effect; and ornaments are actually constructed, instead of forming the decoration of construction […] it is in pointed architecture alone that these great principles have been carried out” Page 1.
Doorways, windows and arches should have shaped edges suitable to their purpose:
“Mouldings are the enrichment of splays of doorways, windows, arches and piers, of base and stringcourses, of weatherings and copings, and they are introduced solely on the principle of decorating the useful.” Page 12.
Roofs, the structural beams should be exposed to view and of beautiful design. Page 35:
They should not be covered up with an artificial plaster ceiling. Page 35:
In the home, curtains can be decorative, but each part must serve a purpose – the valance reduces draught, page 27:
They should not have ornate bows and tassels which only collect dust, page 28:
He also criticises people who take parts of the designs of the past into their home just for decorative purposes. For example. the person who builds a house with a design of castle battlements:
“On one side of the house machicolated parapets, embrasures, bastions, and all the show of strong defence, and round the corner of the building a conservatory […] through which a whole company of horsemen might penetrate at one smash” Pages 58-59.
August 2025
Adrian Vincent