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As a man, Pugin was passionate, intense, naïve, impatient, combative and funny.

In his library, surrounded and sometimes interrupted by his large family, Pugin produced much of his finest work, working at prodigious speed as designs for the House of Lords and the Medieval Court at the Great Exhibition flowed effortlessly from his pen.

He reserved some of his finest flourishes for his own home: some remain, others we have reinstated.

The house has a private chapel and a tower, from whose roof Pugin trained his telescope on ships in distress (today’s Landmarkers can also climb out to watch more modern shipping from the freight ferry terminal, visible from the first floor and above).

We have returned most of the house to an appearance that Pugin himself would recognise, including the intricate, jewel-bright interiors (the north courtyard and a bedroom are presented as left by Edward Pugin, who lived at The Grange after his father’s death).

This cheerful and uncontrived asymmetry became and remains such a familiar feature of English domestic architecture that it is easy to forget how radical it was after the formal terraces of the 18th century.

The principle it reflects, that form should follow function, remains central to much of today’s architecture.

However, it is quietly revolutionary in the arrangement of rooms and their outward expression in architecture.