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Come and see how it has been learnt by men who have spent their lives face to face with it." They crossed the street by Magdalen bridge, and passed under Pugin's gateway, by the Chapel door and into the famous cloisters. All was quiet here; so quiet that even the voices of the sparrows chattering in the ivy seemed but a part of the silence. The shadow of the great tower fell across the grass.
I know nothing in the shape of error so dark as this, no imbecility so absolute, no treachery so contemptible. I had hardly believed that it was a thing possible, though vague stories had been told me of the effect, on some minds, of mere scarlet and candles, until I came on this passage in Pugin's "Remarks on articles in the Rambler":
"Thanks," said the visitor. Pugin would lend his purse to the cause, and his name, but he would not lend his pen simply because he could not. To every literary man there are dead subjects; this question was dead to the author of "Absolution" as uninspiring as cold mutton. "Thanks," said Adams, and rose to take his leave. His rough-hewn mind understood with marvellous perspicuity Pugin's position.
It was as though the gentle hands of Maxine had put it back. Maxine, when she reached her own apartments, turned on the electric light in her sitting room, and sat down at once to write to the friend who was a friend of Pugin's. This friend was Sabatier. She had studied art under him, and between artist and pupil lay that mysterious bond which unites craftsmen.
Without Pugin's bitterness the same method of contrast has been used most effectively to put before children by means of lantern slides and lectures the manner in which art renders truth according to the various ideals and convictions of the artists.
Pugin's mediaeval predilections, are of the awkward clumsy construction with which our ancestors were obliged to be content for want of better. On the same principle the floors ought to have been strewed with rushes, the meat salt, the bread black rye, and manuscript should supersede print.
Pugin's work and reputation have survived, notwithstanding the furious opposition he met with at the time. In a review of one of his books, in the Art Union of 1839, the following sentence completes the criticism: "As it is a common occurrence in life to find genius mistaken for madness, so does it sometimes happen that a madman is mistaken for a genius. Mr.
France had read it weeping, drying her tears with one hand and continuing the expulsion of the religious orders with the other. That, however, was not Pugin's fault; he had done his best. It was not his fault that logic and sentiment are so largely constituent of the French nature, making between them that paradox, the French mind.
Ferminard, a tall, black-bearded creature, with a glittering eye; a brigand from the Rhone Valley who had flung himself into the politics of his country as a torpedo flings itself into the sea, greeted Adams with effusion, when he read Pugin's card; gave him cigarettes, and shut the open window in honour of his guest.
The French Revolution and First Empire Influence on design of Napoleon's Campaigns The Cabinet presented to Marie Louise Dutch Furniture of the time English Furniture Sheraton's later work Thomas Hope, architect George Smith's designs Fashion during the Regency Gothic revival Seddon's Furniture Other Makers Influence on design of the Restoration in France Furniture of William IV. and early part of Queen Victoria's reign Baroque and Rococo styles The panelling of rooms, dado, and skirting The Art Union, The Society of Arts Sir Charles Barry and the new Palace of Westminster Pugin's designs Auction Prices of Furniture Christie's The London Club Houses Steam Different Trade Customs Exhibitions in France and England Harry Rogers' work The Queen's cradle State of Art in England during first part of present reign Continental designs Italian carving Cabinet work General remarks.
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