Pugin Alphabets from 1844

Illustration: A W N Pugin. Alphabet style, 1844.

The four examples that illustrate this write-up are alphabets developed by Augustus Welby Northmore Pugin in 1844. Being Pugin and currently being 1844 they are clear in their gothic inspiration. Even so, the fonts are an interesting growth in the job of Pugin and should be noticed in tandem with his ever more refined pattern work.

Although Pugin is possibly much better recognized right now as an architect, rather than a pattern designer, there has usually been some dispute as to exactly where his true talent lay. Throughout his life time and quickly afterwards, he was admired far more for his decorative attributes than for his architecture, which numerous saw as uninspired or at least undisciplined. However, most critics praised his mastery of line and colour and saw him as a natural decorative designer.

Illustration: A W N Pugin. Alphabet design, 1844.

Although the alphabets proven here had been created by Pugin along with a complete host of religiously inspired decoration and pattern perform for his Glossary of Ecclesiastical Ornament and Costume revealed in 1844, a lot of the function could simply have been employed for secular reasons. Decoration and pattern is very frequently, even though not always, ambiguous and readily readily available for small tweaks and corrections in buy to make it obtainable for a diverse or more substantial market place.

A case in level would be the 4 alphabets developed by Pugin, ostensibly for the use of the Catholic Church of which Pugin was a comparatively new and for that reason devout member. The alphabets could nicely have been utilized for a printed format, but more curiously several of these fonts became an acceptable addition for embroidery or much more exclusively needlepoint which is typically puzzled with tapestry by which it is also identified. Though ecclesiastical embroidery became a considerable development place in Victorian Britain, particularly from the Gothic Revival onwards, domestic embroidery also ever more employed lettering to market and embellish decorative function. The range of &#8216Home Sweet Residences&#8217 and a variety of verses from the Bible or popular poetry that have been put inside frames and then hung on the wall or supplied as gifts, must have operate into the hundreds of hundreds.

Illustration: A W N Pugin. Alphabet style, 1844.

Most pattern designers in the nineteenth century, at some point, both created or tailored alphabets for use within their operate, or offered them for the use of the basic public in whichever format they decided to work them into. New alphabets appeared to flip up on a close to weekly foundation notably inside publications which routinely offered an progressively broad spectrum of fancy lettering to be utilized for embroidery. In some respects the interest in a panoply of fonts in the nineteenth century is possibly no diverse than our own curiosity in novel and interesting diversions from the common Arial or Occasions font that we have turn out to be so accustomed to with our domestic computer systems.

Illustration: A W N Pugin. Alphabet design, 1844.

Pugin himself employed lettering liberally during the decorative operate that he developed during his brief occupation. He was even acknowledged to have used gothic lettering in distinct on the two ceramics and wallpaper. Nevertheless, he was by no implies on your own in the use and it was deemed, if not standard, then at minimum easily acceptable to use kinds of lettering, specifically of earlier styles within the ornamental arts. Considerably of the interest in the examination and the reuse of lettering from earlier eras, at minimum on the portion of the designer, was in the enjoyment of re-examination. A lot of the medieval and pre-medieval environment had been cast apart and even buried by the numerous decorative types, especially that of the eighteenth century. For the designer of the nineteenth century to the two rediscover and reuse the art of calligraphy, even if outdoors of the traditions of the self-discipline, gave a considerably greater scope to the ornamental arts and allowed a much wider spectrum of inventive liberty from the narrow confines of the classical. In this respect at least, Pugin was in full accord.

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