Nor was he disappointed in his other expectation. In the extraordinary progress of decorative art during the last twenty years the work in the New Palace of Westminster may justly claim a large share of influence. Infinite pains were bestowed on every detail; in some cases it seemed, that the dignity of the building as a whole, rather than the absolute need or object of the particular part under consideration, was allowed to determine the care and elaboration to be bestowed upon it. In the whole of the enormous mass there is hardly a square yard, which was not the subject of careful study. It was rather an understatement than an exaggeration of the truth, when the architect was forced to state to the Government that “no less than between 8000 or 9000 original drawings and models have been prepared for it, a large portion of which have emanated from my own hand, while the whole of the remainder have been made under my own immediate direction and supervision.” It was impossible that this extraordinary labour should be wholly thrown away. It could not fail to advance that cause of decorative art, to which it was so unsparingly devoted. But Mr. Barry was well aware that such a work could not be carried out by the unaided exertions of a single man. It was his good fortune to give direction and stimulus to a crowd of artistic coadjutors; it is the duty and privilege of those, who cherish his memory, to record with the most unreserved acknowledgment the valuable aid which he received from them. Foremost among all stands the name of the late Mr. Pugin. It was (as has been said) during the erection of the Birmingham Grammar School in 1835 that he first became known to Mr. Barry, and at that time his help was first received in designing certain details of the interior. From the first moment of their acquaintance the connection between them became warm and friendly. Agreeing in their entire devotion to art, and differing widely in character and in artistic principles, they had perhaps just that amount of sympathy and diversity, which leads to mutual appreciation, co-operation, and friendship. Unrestrained as their intercourse and mutual criticisms were--impossible, in fact, as it would have been to restrain either in the assertion of what he conceived to be orthodoxy in architectural faith--that intercourse was untroubled by the slightest misunderstanding or estrangement of feeling, from the time that they first saw each other in Birmingham, till the day when Sir C. Barry was one of the few mourners who followed his friend to the grave.