“There is here no conspiracy, no organised movement, no preconcerted effort. Not one of those engaged in it ever thought of its being a movement at all; few of them knew in the first instance that others were affected by the same feelings with themselves, nor perhaps were conscious of any external causes which had given rise to such sentiments in themselves. Yet all, from some internal impulse, seem severally to have been impelled in one and the same direction; and, having at a later period discovered the concurrence of their feelings, their efforts have since assumed the form of a united movement, though originating from the individual and unbiassed feeling of persons wholly unknown to each other.” In the same paper I spoke in the following terms of the greatest of the early promoters, and in fact the great hero and Coryphæus of our revival, and of the societies which were formed throughout the country for the furthering of the study of our ancient architecture:--“About the time I am referring to, an immense impulse was given to the reformation of architecture by the earlier publications of Pugin. His _Contrasts_, published in 1836,”--an architectural _jeu d’esprit_, placing side by side in somewhat burlesqued contrast, selections from Mediæval and modern works,--“while it enraged the majority of our architects, excited others most strongly to press forward toward better things. His _True Principles of Pointed or Christian Architecture_, which appeared in 1841, was a gigantic step in advance. It grappled at once with all the fallacies which had corrupted modern architecture, and established a code of rules, founded upon common sense, utility, and truth; while his _Apology_ which came out a little later, showed the necessity of falling back upon our national style, and its ready applicability to every requirement of our day. In the meantime the success of his own personal labours was truly astonishing. Not only were the advances he made in the revival of Pointed architecture most rapid, showing genius in every touch,--this was, in fact, the smallest of his achievements,--he actually revived by his own personal exertions nearly every one of its subsidiary arts: architectural carving and sculpture, stained glass, decorative painting, metal-work,--whether in brass or wrought iron,--gold and silver work, enamelling, embroidery, woven textures, paperhangings, encaustic tiles, the manufacture of furniture, and even of ordinary household crockery-ware,--all felt the impress of his hand and of his genius.