Divine Design: the Gothic Revival and Catholic art

From 1830 onwards, the dominance of classical architecture faced a significant challenge with the rise of the Gothic Revival. This movement turned away from the domes and columns of antiquity and embraced the dramatic forms of the Middle Ages, characterised by soaring pinnacles, intricate towers, and pointed arches. What had once been considered an outdated and neglected style gained new life in the mid-nineteenth century, fuelled by the growing influence of Romanticism, which sought to reconnect with the emotional and spiritual depth of the past.

The Gothic Revival was spearheaded by figures like John Ruskin (1819-1900) and A.W.N. Pugin (1812-1852), who championed a return to the aesthetic ideals of the thirteenth century. They believed that medieval architecture, with its emphasis on craftsmanship and spiritual symbolism, offered a profound alternative to the industrialization and materialism of their time. The movement was therefore marked by a rediscovery of medieval forms and patterns, especially those seen in Gothic churches, which served as a primary source of inspiration.

Vivid colours and rich ornamentation became hallmarks of Gothic Revival buildings, with pointed arch windows and multicoloured designs (known as polychromy) playing a prominent role. Gothic Revival churches and cathedrals were also designed to overwhelm and inspire awe among worshippers. As such, they were also adorned with murals, sculptures, and elaborate altarpieces to create spaces that sought to elevate the soul.

In a similar way, the buildings were designed to tell stories through their visual elements. Stained glass, for example, was used not just as decoration but as a means to both physically and spiritually enlighten the congregation. As a result, Gothic Revival churches often feature artwork that represent stories from the Bible or from the lives of the saints.

A.W.N. Pugin: the Apostle of the Gothic Revival

It was Augustus Welby Northmore Pugin (1812-1852) who was the main pioneer of the Gothic Revival movement in England. From a young age, Pugin developed a passion for all things medieval, which was further reinforced when he became a Catholic in 1834. 

Pugin pursued a career as a designer, architect, and writer. He argued for the revival of Gothic architecture as the true expression of Christian culture and heritage. Pugin designed numerous important buildings and churches in the medieval style, and wrote several books promoting the Gothic Revival, including Contrasts and True Principles.

Pugin’s major breakthrough came when he designed Gothic furniture for Windsor Castle. Despite early struggles, he established himself as a key proponent of the Gothic Revival. His conversion to Catholicism influenced much of his work, driven by his belief in the spiritual and artistic superiority of medieval Catholic architecture over contemporary Protestant designs.

As far as Pugin was concerned, churches should set forth the three greatest teachings of the faith in their very design. To remind the faithful of the crucifixion, he argued, they should be built in a cross-shape. To reflect the Trinity, they should feature triangular details. And to celebrate the resurrection, he said, they should rise to great heights.

The first church designed by Pugin was St Mary’s, Derby, between 1837-1839. By the time he had finished his own church, St Augustine’s, Ramsgate, in 1850, the number had risen to around forty including three cathedrals. In all, his buildings numbered over one hundred and in the process he had laid the foundations for a revived Gothic architecture that conformed to the approach taken by medieval builders. 

After the old Palace of Westminster was destroyed by fire, Pugin collaborated with Sir Charles Barry on the design of the new Houses of Parliament. However, his work extended beyond architecture to designing stained glass, furniture, and metalwork. This reflected his commitment to integrating art and craftsmanship within religious settings. 

Blessings from Birmingham: the art of Hardman & Co.

Following the Emancipation Act of 1829, which allowed Catholics to practice their religion freely, there was a surge in the construction of Catholic churches across England. In Birmingham, Irish immigration and conversions to Catholicism, led by St John Henry Newman, fuelled the demand for new places of worship. 

John Talbot, the sixteenth Earl of Shrewsbury (1791-1852), a wealthy and influential Catholic layman, became a key supporter of the Gothic Revival, financing the building of many churches across the Midlands. He formed a close friendship with A.W.N. Pugin.

At the same time, a Catholic industrialist from Birmingham named John Hardman Jr. (1812-1867) also decided to offer his business expertise and financial support to the Church. He too was a friend of Pugin’s. This combination of financial resources and talent led to the Catholic Midlands playing a leading role in the Gothic Revival movement.

Key Pugin-designed buildings such as St Mary’s College chapel at Oscott (1838), St Chad’s Cathedral in Birmingham (1841), and St Giles in Cheadle (1846) were erected in the Midlands, with the Earl of Shrewsbury and John Hardman Jr. as major benefactors. The Earl financed the construction of all three, while Hardman specifically funded the building of St Chad’s.

In 1838, at Pugin’s suggestion, John Hardman Jr. founded Hardman & Co., which specialised in producing the metalwork needed for decorating Pugin’s churches. The studio also made the face and hands of Big Ben, the famous clock of the Houses of Parliament. In 1845, again prompted by Pugin, the firm expanded into stained glass windows, producing works for both Anglican and Catholic churches. 

John Hardman Powell, John Hardman Jr.’s nephew, took over the design side of Hardman & Co. in 1852. Joseph Aloysius Pippet, who joined as an apprentice in 1854 and worked there until his death in 1903, became the chief designer. In 1883, the firm split into two: John Hardman & Co. continued with the stained glass, while Hardman, Powell and Co. handled the metalwork side of the business. 

Given his partnership with the firm, A.W.N. Pugin himself was very hands-on in the production of Hardman glass. He would sketch out designs for windows and specify the colours that were to be used. The designs of Pugin and John Hardman Powell remained central to the Hardman style, which usually featured characters in medieval dress. Mimicking the stained glass of the Middle Ages, common colours within Hardman windows are red, blue and gold.

Flemish Faith: Belgian Stations and the St Luke Style

To understand the Gothic Revival still further, we must leave the United Kingdom and cross the English Channel, to Belgium.

Belgium achieved independence from The Netherlands in 1830. This new nation, which was predominantly Catholic, wanted to create a new identity for itself, distinct from the culture of the Dutch, who were mostly Protestant.

A Belgian architect named Jean-Baptiste Bethune (1821-1894) played a leading role in the creation of this new national identity. He strongly promoted traditional forms of Catholic architecture and culture across Belgium. Bethune was a friend of A.W.N. Pugin and was heavily influenced by his Gothic Revivalist ideas.

To bring shape to Belgium’s Gothic Revival identity, in 1863 Bethune helped to establish the Guild of St Thomas and St Luke and in 1866, he co-founded the St Luke art school in the city of Ghent. Subsequently, St Luke art schools sprang up across the country. 

The Guild, as well as the St Luke art schools, were established to foster the development of Belgian Gothic art and architecture. Under Bethune’s direction, they closely adhered to Pugin’s principles. As a result, a ‘St Luke style’ emerged in Belgium that saw the nation’s churches and public buildings built and decorated along Gothic Revivalist lines.

At the same time, there was significant crossover between Belgium and England, in terms of the development of Gothic Revival art and architecture. William Weale, an English Catholic living in Bruges, co-founded the Guild of St Thomas and St Luke with Bethune. Alois de Beule, a significant graduate of the St Luke art school in Ghent, spent time in London during the First World War.

Edward Welby Pugin (A.W.N. Pugin’s son) continued the Belgian connection by designing the castle of Loppem, near Bruges. The Belgian art studios also advertised their services among Catholic circles in England. For all of these reasons, a natural link was formed between Belgian and English Gothic Revival art. 

This was especially the case with Stations of the Cross, the series of artistic images that tell the story of Christ’s walk to his crucifixion. Belgian stations were installed within two key Pugin buildings – St Chad’s Cathedral, in Birmingham (1875) and St Augustine’s, Ramsgate (1893). This set a strong precedent and led to Belgian stations being created for Gothic Revival churches across Britain. Belgian artists who supplied them included:

• Matthias Zens (1839-1921), a German sculptor who learned his craft at the St Luke’s Art School in Ghent. He set up his own studio, employing some 100 artists, and later trained Alois de Beule (see below). In 1894, the Zens studio produced stations for St Hedda’s (Egton Bridge) and the Church of the Most Precious Blood (London).
• Albrecht de Vriendt (1843-1900), who was born in Ghent but lived mostly in Antwerp and Brussels. He became director of the Royal Academy of Fine Arts in Antwerp. In 1875, de Vriendt produced the stations for St Chad’s Cathedral (Birmingham) and then in 1886 for St Joseph’s (Highgate), both in the Belgian Gothic style.
• Alois de Beule (1861-1935), who was another graduate of the St Luke’s Art School in Ghent. He produced at least 22 sets of the Stations of the Cross for churches in England, including the set for St Augustine’s, Ramsgate (an example station is pictured at the start of this section). Further examples include the sets within St Anne’s (Rock Ferry), St Mary’s (Horwich), St Anselm and St Cecilia (London), Our Lady of Lourdes (Harpenden), St Peter’s (Bromsgrove), St Anthony of Padua (Anerley) and Our Lady of Victories (Market Harborough).

Iconic Artists of the Gothic Revival 

In the United Kingdom, within the Catholic context, some other significant artists and studios of the Gothic Revival included:

• William Wailes (1808–1881), who was a Newcastle-based stained glass artist. His firm grew to be one of the largest in country. He worked with A.W.N. Pugin and his signature style included windows of turquoise, green, blue and pink. Examples of his work can be found in churches such as St Alban’s (Macclesfield), St Marie’s (Bury) and St Wilfrid’s (York).
• Nathaniel Westlake (1833–1921), who was a painter and stained glass artist. Westlake produced many canvas paintings which were then glued to church walls or ceilings. You can find examples of these in St Mary’s (Ryde), St Thomas of Canterbury and the English Martyrs (St Leonards-on-Sea) and Holy Ghost (Basingstoke).
• John Francis Bentley (1839-1902), who was involved in both the Gothic and Byzantine Revivals as an architect and artist. Bentley was a fan of opus sectile, a type of mosaic using larger tile fragments. Examples of these can be found within Corpus Christi (Brixton), St James Spanish Place (London – above) and Holy Rood (Watford).
• Ion Pace (1846-1928), who was a stained glass painter who originally worked for the Clayton & Bell studio. He produced glass for churches across Southern England, including for St Edward’s (Windsor), St Joseph’s (Southampton), Our Lady of Dolours (Kensington) and St Mary’s (Clapham).
• Joseph Gabriel Mayer (1808–1883), who was the founder of Mayer of Munich (1860+). This Bavarian firm had both the blessing of the Holy See and a London showroom, which resulted in its windows taking pride of place in Catholic churches across Britain. Its picturesque style took inspiration from Renaissance paintings rather than from medieval images. Mayer windows can be found in churches such as St Mary Magdalen (Bexhill), St Peter’s (Cardiff) and St Mary’s (Leek).
• Sir Ninian Comper (1864-1960), who produced a small number of windows for Catholic churches, including St Mary’s (Gosport) but most famously for Downside Abbey, in Somerset.

Examples of Gothic Revival art

Here are some representative examples of Gothic Revival stained glass, Stations of the Cross, wood carvings and murals that are found within Catholic churches across the United Kingdom.

1. The Temptation and Fall (Edward Welby Pugin: Our Lady and St Hubert, Great Harwood, 1857-59)
2. St James Minor (Sir Ninian Comper: Downside Abbey, Somerset)
3. St Peter’s rescue from prison (Mayer of Munich: St Peter’s, Cardiff, 1883)
4. Miriam celebrates the Exodus (John Francis Bentley: Corpus Christi, Brixton, 1890s)
5. Christ stills the Tempest (Ion Pace: St Joseph’s, Southampton, 1891)
6. The Death of God’s Son (Alois de Beule: St Augustine’s, Ramsgate, 1893)
7. The Road to Emmaus (From Oberammergau: Holy Trinity, Dorchester, 1897)
8. Abel is murdered (Nathaniel Westlake: Holy Ghost, Basingstoke, c. early 1900s)
9. The Song of Judith (Hardman & Co: Cathedral of St John the Baptist, Norwich, c. early 1900s)
10. King Solomon asks for wisdom (Arthur Wybo: Our Lady and St Joseph, Alcester, 1910)

For further reading

• Coomans, Thomas. Neo-Gothic: Style and Ideology in Nineteenth-Century Belgium, in: Material Change. The Impact of Reform and Modernity on Material Religion in North-West Europe 1780-1920; 2021; Vol. 19; pp. 244 – 257.
• Doolan, Brian. The Pugins and the Hardmans. Archdiocese of Birmingham Historical Commission, 2004.
• Fisher, Michael. Hardman of Birmingham: goldsmith and glasspainter. Ashbourne: Landmark Publishing, 2008.
• O’Donnell, Roderick. The Pugins and the Catholic Midlands, Gracewing, Archdiocese of Birmingham Historical Commission, 2002.
• Powell, Christabel Jane (2002) The liturgical vision of Augustus Welby Northmore Pugin, Durham theses, Durham University. Available at Durham E-Theses Online.
• Proctor, Robert. Building the Modern Church: Roman Catholic Church Architecture in Britain, 1955 to 1975. London: Routledge, 2014.
• Shepherd, Stanley A. The Stained Glass of A.W.N. Pugin. Seraphim Press, 2022.