ng architect Pugin naturally received and executed many
commissions for Catholic churches. But the Catholic Church in England
did much less, even in proportion to its resources, than the Anglican
establishment towards promoting the Gothic revival. Eastlake says that
Pugin's "strength as an artist lay in the design of ornamental detail";
and that he helped importantly in the revival of the mediaeval taste in
stained glass, metal work, furniture, carpets, and paper-hangings.
Several of his works have to do with various departments of ecclesiology;
chancel-screens, roodlofts, church ornaments, symbols and costumes, and
the like. But the only one that need here be mentioned is the once very
influential "True Principles of Pointed or Christian Architecture"
(1841). This revival of ecclesiastical Gothic fell in with the reform of
Anglican ritual, which was one of the features or sequences of the Oxford
movement, and the two tendencies afforded each other mutual support.

Evidence of a newly awakened interest in mediaeval art is furnished by a
number of works of a more systematic character which appeared about the
middle of the century, dealing not only with architecture, but with the
early schools of sculpture and painting. One of these was "Sketches of
the History of Christian Art" (3 vols., 1847) by Alexander William
Crawford Lindsay, twenty-fifth Earl of Crawford. In the preface to the
reprint of this book in 1885, Lady Crawford speaks of it as a pioneer in
an "early time of unawakened interest." Ruskin refers to it
repeatedly--always with respect--and acknowledges in "Praeterita" that
Lord Lindsay knew a great deal more about Italian art than he himself
did. The book reviews in detail the works of Christian builders,
sculptors and painters, both in Italy and north of the Alps, from the
time of the Roman catacombs and basilicas down to the Renaissance. It
gives likewise a history of Christian mythology, iconography and
symbolism; all that great body of popular beliefs about angels, devils,
saints, martyrs, anchorites, miracles, etc., which Protestant iconoclasm
and the pagan spirit of the _cinque-cento_ had long ago swept into the
dust-bin as sheer idolatry and superstition. Lord Lindsay's treatment of
these matters is reverential, though his own Protestantism is proof
against their charm. His tone is moderate; he has no quarrel with the
Renaissance, and professes respect for classical art, which seems to him,
ho