Geoffrey Hill's poems are like those of no other living poet. Grand in their music, powerful in their impact, they are public poetry, poetry dealing with religion, with the state of England, poetry as a lamentation for the human condition. As A.

True Principles of Pointed or Christian Architecture was first published in 1841, when Pugin was 29 years old. Here he presents coherent arguments for the revival of the Gothic style, the case for which he had made pictorally in his sensational book Contrasts (1836). For Pugin, the Gothic Revival was 'not a style, but a principle' and this he laid down in his most influential architectural treatise, True Principles, which introduced functionalist and rationalist as well as moral criteria into architectural discourse, much of it still resonant in the twentieth-century Modern Movement. It is reprinted together with his Apology for the Revival of Christian Architecture, first printed in 1843. Much of his thought here is on architectural education, and in shuffling off the straitjacket of neoclassical architectural principles Pugin exercised a great influence in mid-Victorian architecture and the applied arts, and in a wider design reform movement. These two seminal books, presented in one volume, are introduced by the architectural historian and Pugin authority Dr Roderick O'Donnell

Who was the bona fide architect of the New Houses of Parliament? Charles Barry (1795-1860), the winner of the Parliamentary competition, or Augustus Welby Northmore Pugin (1812-52), the ‘ghost’ designer, a young Catholic architect and Gothic specialist? After both men died, the controversy over the actual architect of the Houses of Parliament was to become a matter of public dispute, largely stimulated by the directly-opposed claims published by the two men’s sons—the architect Edward Welby Pugin (1834-75) and Rev. Alfred Barry (1826-1910), an Anglican clergyman who later became the Bishop of Sydney. The writings of both sons, compiled here in a single volume, reveal to us the whole picture of the controversy over the real authorship of the grandest architectural monument of Victorian Britain and the feverish reactions to it of the nineteenth-century British public, which evince the Victorian democratization of artistic appreciation.

Vilified by leading architectural modernists and Victorian critics alike, mass-produced architectural ornament in iron has received little sustained study since the 1960s; yet it proliferated in Britain in the half century after the building of the Crystal Palace in 1851 - a time when some architects, engineers, manufacturers, and theorists believed that the fusion of iron and ornament would reconcile art and technology and create a new, modern architectural language. Comprehensively illustrated and richly researched, Iron, Ornament and Architecture in Victorian Britain presents the most sustained study to date of the development of mechanised architectural ornament in iron in nineteenth-century architecture, its reception and theorisation by architects, critics and engineers, and the contexts in which it flourished, including industrial buildings, retail and seaside architecture, railway stations, buildings for export and exhibition, and street furniture. Appealing to architects, conservationists, historians and students of nineteenth-century visual culture and the built environment, this book offers new ways of understanding the notion of modernity in Victorian architecture by questioning and re-evaluating both Victorian and modernist understandings of the ideological split between historicism and functionalism, and ornament and structure.

From the early nineteenth to the mid-twentieth century, an impressive group of English speaking intellectuals converted to Catholicism. Outspoken and gifted, they intended to show the fallacies of religious skeptics and place Catholicism, once again, at the center of western intellectual life. The lives of individual converts—such as John Henry Newman, G. K. Chesterton, Thomas Merton, and Dorothy Day—have been well documented, but Patrick Allitt has written the first account of converts' collective impact on Catholic intellectual life. His book is also the first to characterize the distinctive style of Catholicism they helped to create and the first to investigate the extensive contacts among Catholic convert writers in the United States and Britain. Allitt explains how, despite the Church's dogmatic style and hierarchical structure, converts working in the areas of history, science, literature, and philosophy maintained that Catholicism was intellectually liberating. British and American converts followed each other's progress closely, visiting each other and sending work back and forth across the Atlantic. The outcome of their labors was not what the converts had hoped. Although they influenced the Catholic Church for three or four generations, they were unable to restore it to the central place in Western intellectual life that it had enjoyed before the Reformation.

Containing over 6,000 entries from Aalto to Zwinger and written in a clear and concise style, this authoritative dictionary covers architectural history in detail, from ancient times to the present day. It also includes concise biographies of hundreds of architects from history (excluding living persons), from Sir Francis Bacon and Imhotep to Liang Ssu-ch'eng and Francis Inigo Thomas. The text is complemented by over 260 beautiful and meticulous line drawings, labelled cross-sections, and diagrams. These include precise drawings of typical building features, making it easy for readers to identify particular period styles. This third edition of The Oxford Dictionary of Architecture has been extensively revised and expanded, with over 900 new entries including hundreds of definitions of garden and landscape terms such as Baroque garden, floral clock, hortus conclusus, and Zen garden-design. Each entry is followed by a mini-bibliography, with suggestions for further reading. The full bibliography to the first edition (previously only available online) has also been fully updated and expanded, and incorporated into this new edition. This is an essential work of reference for anyone with an interest in architectural and garden history. With clear descriptions providing in-depth analysis, it is invaluable for students, professional architects, art historians, and anyone interested in architecture and garden design, and provides a fascinating wealth of information for the general reader.