Born on March 1, 1812, in the cultural heart of Bloomsbury, London, Augustus Welby Northmore Pugin was destined to leave a lasting mark on Gothic design. His father, Augustus Charles Pugin, a talented French draughtsman who relocated to England in 1798, was pivotal in introducing him to the majestic intricacies of Gothic architecture. Through his father’s prolific work, young Augustus grew up immersed in the artistry of this timeless style, igniting a passion that would shape his legacy.
Pugin’s formative years combined formal education at Christ’s Hospital school, then based in Newgate Street, London. This was followed by hands-on training in his father’s workshop, where he developed his artistic and architectural skills. By age 15, he had already made an impression with his first major commission: a Gothic-style chalice for King George IV, now famously known as the Coronation Cup. Although he briefly explored theatrical set design at Covent Garden and the King’s Theatre in the late 1820s, his love for Gothic architecture remained unwavering.
The seeds of Pugin’s monumental work ‘Examples of Gothic Architecture’ were planted in 1828 with the publishing of ‘The Oxford Colleges’, the first set of plates capturing the grandeur of England’s Gothic edifices. This foundational work marked the beginning of a collaboration that involved a talented team of 12 artists and 17 sculptors, including notable figures like Benjamin Ferrey and Thomas Larkins Walker. Together, they meticulously created detailed plans, elevations, and sections, bringing these architectural wonders to life through art.
The first edition of volume I of ‘Examples of Gothic Architecture’ was published in 1831, just prior to the death of his father Augustus Charles Pugin in 1832. At this time Augustus Welby Pugin inherited the family enterprise, shouldering the responsibility of continuing and expanding the legacy. The first edition of Volume II of the series soon followed in 1836 and Volume III was published in 1838, alongside the republishing of the earlier two.
Among his architectural triumphs, the design of the iconic clock tower, now known as Big Ben, stands as a profound testament to Pugin’s genius and the legacy of Gothic architecture. It encapsulates not only his personal brilliance but also the collective artistry and craftsmanship of those who inspired and supported his work. Big Ben’s majestic presence today serves as a tribute to Pugin and all that went before, echoing the timeless beauty of the Gothic Revival.
Both Augustus Charles and Augustus Welby Northmore Pugin are credited for Volume II, published in 1836. This acknowledges the elder Pugin’s foundational work and the younger Pugin’s role in completing the project after his father’s passing. This shared credit reflects the transition of responsibility within the family.
Volume III, published in 1838, formally acknowledged Augustus Charles Pugin’s death, likely as a tribute to his contributions. By this point, the series had grown into a significant achievement, and honouring his role in its creation was a fitting recognition of his impact. The acknowledgment also highlighted the transition to Augustus Welby Northmore Pugin as the driving force behind completing the series.
Examples of Gothic Architecture, the admired class of architecture.