Chapter LVIII: Introduction: Notes

Footnote 1:

Sigfried Giedion introduced this term in his _Spätbarocker und
romantischer Klassizismus_ in 1922 and provided an extended discussion
of the concept. Fiske Kimball first used the term in English in his
article ‘Romantic Classicism in Architecture’, _Gazette des
Beaux-Arts_, XXV (1944), 95-112.

Footnote 2:

See Hautecœur, L., _Rome et la renaissance de l’antiquité à la fin du
XVIII^e siècle_, Paris, 1912. However, the deeper background of theory
was French, not Roman. Unhappily the brevity with which this whole
matter must be treated here, where it is merely prefatory to an
account of nineteenth- and twentieth-century architecture, makes it
impossible to discuss such French theorists of the early eighteenth
century as J.-F. Félibien (1656-1733), A.-L. Cordemoy, and A.-F.
Frézier (1682-1773); even Laugier appears somewhat out of context,
since he was active not in Rome but in France. Hautecœur in _Histoire
de l’architecture classique_, vols III and IV, and Kaufmann in
_Architecture in the Age of Reason_—particularly in Chapter
XI—elaborate this background of theory in France centring round the
_Cours d’architecture ..._, Paris, 1770-7, of J.-F. Blondel (1705-74).

Footnote 3:

See Harris, J., ‘Robert Mylne at the Academy of St Luke’,
_Architectural Review_, CXXX (1951), 341-52.

Footnote 4:

Monographs on major architects will be found listed alphabetically by
architect in the Bibliography and are not referenced from the text.

Footnote 5:

The changing attitudes towards the Greek Doric order provide a measure
of the rise of Romantic Classicism. It is noteworthy that Soufflot was
one of the first to make drawings of the very archaic Doric of
Paestum, but it never occurred to him to emulate it in his own work.
See Pevsner, N., and Lang, S., ‘Apollo or Baboon’, _Architectural
Review_, CIV (1948), 271-9.

Footnote 6:

Winckelmann’s major work is the _Geschichte der Kunst des Altertums_,
2 vols, Dresden, 1764.

Footnote 7:

Interest in Egyptian forms can be traced all the way back through the
Baroque period to the early Renaissance, but it undoubtedly increased
after 1750 and lasted well into the next century. See Pevsner, N., and
Lang, S., ‘The Egyptian Revival’, _Architectural Review_, CXIX (1956),
242-54. For a remarkable, rather late (1838-41) example of an
‘Egyptian’ mill, see Bonser, K. J., ‘Marshall’s Mill, Holbeck, Leeds’,
_Architectural Review_, CXXVII (1960), 280-2. In the second quarter of
the nineteenth century Egyptian forms were most likely to be used,
especially in America, for prisons and cemetery accessories.

Footnote 8:

Adam studied, with the assistance of the French _pensionnaire_ C.-L.
Clérisseau (1722-1820), the Late Roman ruins of Diocletian’s Palace at
Spalatro in 1757, and began his brilliant career in London two years
later with the Admiralty Screen in Whitehall. See Adam, R., _Ruins of
the Palace of the Emperor Diocletian at Spalatro_, London, 1764, and
Fleming, J., _Robert Adam and his Circle_, London, 1962.

Footnote 9:

The present dome is a relatively late emendation; the original
crowning feature was much less severe. Soufflot sent a pupil named
Roche to London to make measured drawings of St Paul’s in 1776, the
year before he prepared this design.

In general, the Panthéon appears much more Romantic Classical today
than what Soufflot actually built. The towers which once rose over the
corners of the portico—in any case disapproved by Soufflot—were
removed by Antoine Quatremère de Quincy (1755-1849) in 1791, and he
also filled up the windows that originally cut into the plain wall
surfaces. The murals are all of the nineteenth century.

Footnote 10:

Actually many of the spans are much too great to be covered by single
stones and the entablatures are really flat arches. There is also
considerable use of iron.

Footnote 11:

See Petzet, M., _Soufflot’s Sainte Geneviève und der französische
Kirchenbau des 18. Jahrhunderts_, Berlin, 1961.

Footnote 12:

See Rosenau, H., ‘George Dance the Younger’, _Journal of the Royal
Institute of British Architects_, LIV (1947), 502-7. Even more
significant of developing Romantic Classical taste at this point was
the character of the designs in Peyre, M.-J., _Livre sur
l’architecture_, Paris, 1765.

Footnote 13:

See Rosenau, H. (ed.), _Boullée’s Treatise on Architecture_, London,
1953; and Boullée, E.-L., _Mémoire sur ... la Bibliothèque du Roi
..._, [Paris] 1785.

Footnote 14:

This more classical arrangement was first proposed in the 1760s by
Pierre Patte (1723-1814), a theorist in the Blondel tradition, on the
analogy of Palladio’s theatre in Vicenza.

Footnote 15:

This is not true, however, of much of his executed work at
Arc-et-Senans which has heavily plastic roofs of various shapes.

Footnote 16:

So did Friedrich Gilly in Germany and—according to Kaufmann—Valadier
in Italy.

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