The first aid which he received from Mr. Pugin was under the pressure of shortness of time in making the original design. Working under Mr. Barry’s own eye and direction, Mr. Pugin sketched for him in pencil a complete set of details, in a style perhaps bolder, less carefully proportioned and less purely English, than would have been adopted by himself. In the design they differed _toto cœlo_. Mr. Pugin would have recommended irregular and picturesque grouping of parts, utterly at variance with the regularity and symmetry actually adopted. Except in details, he neither had, nor could have had, any influence whatever, and those who compare the details of his own buildings with those of the New Palace will readily see that even here his influence, however valuable, was chiefly indirect. As soon as he was appointed architect to the New Palace, he immediately thought of his friend, and resolved to invite him to his aid. Convinced that Mr. Pugin was at that time unrivalled in his knowledge of Gothic detail, admiring his extraordinary powers as a draughtsman, carried away by sympathy with his burning artistic enthusiasm, he could wish for no other coadjutor. The invitation was accepted, and a connection was established equally honourable to both artists. No man was more original than Mr. Pugin. He held strongly certain principles, on the evolution of which he greatly disagreed with his friend: he was one whose name and genius could at all times command an independent authority. Yet for the furtherance of his art he was willing to accept a distinctly subordinate position, and to work under the superintendence and control of another. His acceptance of the post, and the spirit in which he discharged its duties, showed the generosity and unselfishness which were his well-known characteristics. Nor, on the other hand, could Mr. Barry be unaware of the danger of calling in a too powerful coadjutor. He knew the almost inevitable risk which he incurred of being supposed to wear other men’s laurels, of having all that was good or spirited in the details attributed to Mr. Pugin,[81] and of finding it difficult or impossible to control an enthusiasm, which might work in what seemed to him undesirable methods. But these things he resolutely put aside for the sake of an aid, which he thought likely to improve his great building, and which he knew to be genial and inspiriting to himself.[82] That Mr. Pugin was the last man in the world to encroach on another man’s authority or credit he knew, and that this confidence in his friend’s character was not misplaced is shown by the strong disclaimer which he put out, when an attempt was made to attribute to him more than he felt to be his due. The misapprehensions of others he could afford to disregard.