102 P U G P U G to have been generally overlooked ; but it has proved to be very near the truth, for after investigations carefully pursued during some years by Dr Bureau of Nantes he was in 1877 enabled to shew (Bull. Soc. Zool. France, ii. pp. 377-399) * that the Puffin's bill undergoes what may be called an annual moult, some of its most remarkable appendages, as well as certain horny outgrowths above and beneath the eyes, dropping off at the end of the breeding- season, and being reproduced the following year. Not long after the same naturalist announced (op. cit., iv. pp. 1-68) that he had followed the similar changes which he found to take place, not only in other species of Puffins, as the Fratercula comiculata and F. cirrhata of the Northern Pacific, but in several birds of the kindred genera Cera- torhina and Simorhynchus inhabiting the same waters, and consequently proposed to regard all of them as forming a Family distinct from the Alddx a view which has since found favour with Dr Dybowski (op. cit., vii. pp. 270-300 and viii. pp. 348-350), though there is apparently insufficient reason for accepting it. The name Puffin has also been given in books to one of the Shearwaters, and its Latinized form Puffinus is still used in that sense in scientific nomenclature. This fact seems to have arisen from a mistake of Ray's, who, seeing in Tradescant's Museum and that of the Royal Society some young Shearwaters from the Isle of Man, prepared in like manner to young Puffins, thought they were the birds mentioned by Gesner (loc. cit.), as the remarks inserted in Willughby's Omithologia (p. 251) prove ; for the specimens described by Ray were as clearly Shearwaters as Gesner's were Puffins. (A. N.) PUGET, PIERRE (1622-1694), born at Marseilles on 31st October 1622, painter, sculptor, architect, and engineer, is a rare instance of precocious genius and mature power. At the age of fourteen he carved the ornaments of the galleys built in the port of his native city, and at sixteen the decoration and construction of a ship were entrusted to him. Soon after he went to Italy on foot, and was well received at Rome by Pietro di Cortona, who employed him on the ceilings of the Barberini palace and on those of the Pitti at Florence. In 1643 he returned to Mar- seilles, where he painted portraits and carved the colossal figure-heads of men-of-war. After a second journey to Italy he painted also a great number of pictures for Aix, Toulon, Cuers, and La Ciotat, and sculptured a large marble group of the Virgin and Child for the church of Lorgues. A serious illness in 1665 brought Puget a pro- hibition from the doctors which caused him wholly to put aside the brush. He now sculptured the caryatides of the town-hall of Toulon (Louvre), went to Normandy, where he executed a statue of Hercules and a group of Janus and Cybele for the marquis of Vaudreuil, and visit- ing Paris made the acquaintance of Le Pautre and Fou- quet, who determined to employ him at Vaux and sent him to Italy to choose marbles for his work. The fall of Fouquet found Puget at Genoa, where he remained em- ployed by the nobles of the town. There he executed for Sublet des Noyers his French Hercules (Louvre), the statues of St Sebastian and of Alexandre 'Sauli in the church of Carignano, and much other work. The Doria family gave him a church to build ; the senate proposed that he should paint their council-chamber. But Colbert bade Puget return to France, and in 1669 he again took up his old work in the dockyards of Toulon. The arsenal which he had there undertaken to construct under the 1 A translated abstract of this paper containing an account of what is perhaps the most interesting discovery of the kind made in ornithology for many years is given in the Zoologist for 1878 (pp. 233-240) and another in the Bulletin of the Nuttatt Ornithological Club for the same year (iii. pp. 87-91). orders of the duke of Beaufort was destroyed by fire, and Puget, disheartened, took leave of Toulon. In 1685 he went back to Marseilles, where he continued the long series of works of sculpture on which he had been employed by Colbert. His statue of Milo (Louvre) had been completed in 1681, Perseus and Andromeda (Louvre) in 1683, and Alexander and Diogenes (bas-relief, Louvre) in 1685 ; but, in spite of the personal favour which he enjoyed, Puget, on coming to Paris in 1688 to push forward the execu- tion of an equestrian statue of Louis XIV., found court intrigues too much for him. He was forced to abandon his project and retire to Marseilles, where he remained till his death in 1694. His last work, abas-relief of the Plague of Milan, which remained unfinished, was placed in the council-chamber of the town-hall. Puget was the most vigorous representative of French sculpture in the 18th century ; in spite of his visits to Paris and Rome his work never lost its local character : his Hercules is fresh from the galleys of Toulon ; his saints and virgins are men and women who speak Provei^al. His best work, the St Sebastian at Genoa, though a little heavy in parts, shows admirable energy and life, as well as great skill in contrasting the decorative accessories with the simple surface of the nude. Cicognara, Sioria dclla scultura ; Lenoir, Musee dcs Mon. Fran- fais ; Lagrange, Vie de Pierre Puget ; Barbet de Jouy, Sculptures mod. au Louvre. PUGIN, AUGUSTUS WELBY NORTHMORE (1812-1852), architect, was the son of Augustus Pugin, a native of France, who practised as an architect in London. He was born in Store Street, Bedford Square, on 1st March 1812. After completing the ordinary course of education at Christ's Hospital (blue-coat school), he entered his father's office, where he displayed a remarkable talent for drawing. When he had mastered the elements of his profession he devoted a large portion of his time to the sketching of public buildings ; he also accompanied his father on several professional tours in France. While still very young he was employed by his father to design furniture in the mediaeval style for Windsor Castle, and in 1831 he de- signed the scenery for the new opera of Kenilworth at Her Majesty's Theatre. Shortly afterwards he involved him- self deeply in money difficulties by an attempt to establish a manufactory of stained glass, metal work, and furniture at Hart Street, Covent Garden. From the time, however, that he devoted himself steadily to his profession as an architect he never failed to find full employment. Shortly after his secession from the Church of England to that of Rome he published Contrasts ; or a Parallel betiveen the Architecture of the 15th and 19th Centuries (1836), in which he severely criticized the architecture of Protestantism. His other principal works are True Principles of Christian Architecture (1841), a Glossary of Ecclesiastical Ornament (1844), and a Treatise on Chancel Screens and Rood Lofts (1851). Pugin was the designer of a large number of im- portant Roman Catholic buildings, and also assisted Sir Charles Barry in the preparation of the designs for the new Houses of Parliament, Westminster. Early in 1852 he was attacked by insanity, which caused his death on 14th September of the same year. Future historians who may write the architectural history of the 19th century will probably describe as its leading characteristic that enthusiastic revival of the Gothic style which took place in the second quarter of the century and continued with unabated vigour for more than thirty years. Among the many able archi- tects who during this period contributed to cover England with churches and other buildings, designed in a style which for three centuries had been rejected as barbarous, the name of Pugin deserves to be the most conspicuous. No man so thoroughly mastered the true principles of the Gothic style in its various stages, both in its leading lines and in the minutest details of its mouldings and carved enrichments, and that too at a time when illustrated works on Gothic architecture, such as have since been produced in enormous quantities, 2 had scarcely begun to exist ; thus young Pugin had 2 These numerous illustrated works, with every detail sliowu to a workable scale, by doing away with the necessity for studying the
