TWO:Before the termination of the reign there were active preparations for putting steam-engines on all iron railroads. So early as 1758, Watt, who afterwards did so much in the construction of steam-engines, had an idea that locomotive engines might be put on such roads. In 1770 such an engine was actually made and worked by John Theophilus Cugnot, in Paris, but he had not discovered sufficient means of controlling it. In 1802 Messrs. Trevethick and Vivian exhibited such an engine running along the streets in London. In 1805 the same gentlemen again exhibited one of their engines working on a tram-road at Merthyr Tydvil, drawing ten tons of iron at the rate of five miles an hour; and in 1811 Mr. Blenkinsop was running an engine on the Middleton Colliery, near Leeds, drawing a hundred tons on a dead level at the rate of three and a half miles an hour, and going at the rate of ten miles when only lightly loaded. Blenkinsop had made the wheels of his engines to act by cogs on indented rails; for there was a strong persuasion at that period that the friction of plain wheels on plain rails would not be sufficient to enable the engine to progress with its load. The folly of this idea had already been shown on all the colliery lines in the kingdom, and by the engine of Trevethick and Vivian at Merthyr. The fallacy, however, long prevailed. But during this time Thomas Gray was labouring to convince the public of the immense advantages to be derived from steam trains on railways. In five editions of his work, and by numerous memorials to Ministers, Parliament, lord mayors, etc., he showed that railroads must supersede coaches for passengers, and waggons and canals for goods. He was the first projector of a general system of railroads, laid down maps for comprehensive general lines for both England and Ireland, invented turn-tables, and very accurately calculated the cost of constructing lines. For these services he was termed a madman, and the Edinburgh Review recommended that he should be secured in a strait jacket. In his "Life of George Stephenson" Dr. Smiles takes exception to the statement that Thomas Gray was the originator of railways, and transfers that term to Stephenson. Let us be correct; Gray was the projector, Stephenson the constructor of railways. But it is not to be supposed that Gray had sold five editions of his work without Stephenson, and perhaps every engineer, having read and profited by it. Yet, so little had Stephenson any idea of the real scope and capacity of railways, that it was not till five years after the running of his engines on such lines, by Dr. Smiles's own showing, that he ever imagined such a thing as their becoming the general medium of human transit. He tells us Mr. Edward Pease suggested to him to put an old long coach on the Darlington and Stockton line, attached to the luggage trucks, and see if people might not wish to travel by it. Gray had demonstrated all this long before. He stood in the place of the architect, Stephenson only of the builder who carries out the architect's design. Seven years only after the death of George III. the railway line between Manchester and Liverpool was commenced, and from its successful opening, on the 15th of September, 1830, dates the amazing development of the present railway system.The two Pugins, father and son, had much to do with the revival of Gothic architecture among us. The father, Augustus, born in France in 1769, came over to London to practise his profession. In 1821-3 he published "Specimens of Gothic Architecture," selected from various ancient edifices in England; and in 1825-28 "Specimens of the Architectural Antiquities of Normandy." The year before his death, in 1832, he assisted his son in producing a work entitled "Gothic Ornaments," selected from various buildings in England and France. Augustus Welby Pugin, who was born in 1811, very soon eclipsed his father's fame. Having resolved to devote his time to the arch?ological study of style and symbolism in architectural ornaments, he settled down at Ramsgate in 1833, and carried his resolution into effect both with pen and pencil. In 1835 he published designs for furniture, in the style of the fifteenth century; and designs for iron and brass work, in the style of the sixteenth and seventeenth centuries. The year following appeared his "Designs for Gold and Silver Ornaments, and Ancient Timber Houses." His exclusive and ardent devotion to these studies, aided, no doubt, by his habits of seclusion, began to produce a morbid effect upon his intellect, which was shown in the overweening arrogance of a tract entitled "Contrasts; or, a Parallel between Ancient and Modern Architecture." This morbid tendency probably was increased by his becoming a member of the Roman Catholic Church, in which a great field was opened for the display of his peculiar tastes by the construction of buildings which he expected would shame the degenerate taste of the age, but which, too often, were found to be gloomy and inconvenient. His principal works were the Cathedral of St. George, Southwark, the Church of St. Barnabas, at Nottingham, the Cistercian Abbey of St. Bernard, in Leicestershire, the cathedral churches of Killarney and Enniscorthy, Alton Castle, and the model structure which he erected at his own place near Ramsgate. The Medi?val Court in the Exhibition of 1851 was associated in all minds with the name of Pugin. In his case genius was too nearly allied to madness. The awful boundary was passed towards the close of his life, when his friends were obliged to confine him in a lunatic asylum, from which he returned only to die in 1852.
