Chapter 3: Notes

Footnote 61:

The idea for the two-towered façade is probably derived from a project
of 1809 by Lebas, but could also come from Gisors’s Saint-Vincent in
Mâcon of 1810.

Footnote 62:

Three pieces only of the enamelled lava decoration were put in place;
owing to the ensuing outcry they were soon removed.

Footnote 63:

Hittorff and other architects of his generation such as Henri
Labrouste and Duban, who supported his proposal to revive the external
polychromy they had noted on the Classical temples of Sicily, were
closer in fact to Ingres than to Delacroix. Ingres in 1828 backed
Labrouste’s controversial rendering of the Paestum temples showing
external colour. Duban, one of the first to introduce polychrome
decoration—the plaques of enamelled lava used in the entrance
courtyard of the École des Beaux-Arts are his—was a close friend and
on occasion a collaborator of Ingres. Hittorff collected paintings by
Ingres and assisted him with the architectural backgrounds of his
pictures, though that in the ‘Stratonice’, which gives perhaps the
best idea of the sort of polychromy intended by these architects, was
supplied by Victor Baltard.

Footnote 64:

Actually the original paintwork on the beams and panels of the
vestibules of the Gare du Nord is still there, but so dulled and
begrimed that one hardly notices it. To the twentieth century the
remarkable roof of Hittorff’s Rotonde des Panoramas in the Champs
Élysées of 1836 would be, if extant, of more interest, since it was
suspended from iron cables.

Footnote 65:

As has been noted in Chapter 2, both de Chateauneuf and Meuron studied
with Leclerc.

Footnote 66:

The history of this project is very complicated. As might be surmised
from its character, a design was at one point prepared by Gilbert, the
principal Louis Philippe architect for this sort of work. The actual
construction of the Hôtel Dieu by Diet followed only after a decade of
changes of plan, yet the executed work probably incorporates something
of Gilbert’s design; in any case, what was built is still wholly in
the spirit of Gilbert’s Louis Philippe work and not at all in that of
the Second Empire (see Chapter 8). Diet was Gilbert’s son-in-law.

Footnote 67:

Begun by John Harvey, continued by Thomas Hardwick, and completed by
Sir Robert Smirke.

Footnote 68:

See Venditti, A., _Architettura neoclassica a Napoli_, Naples, 1961.

Footnote 69:

See Missirini, M., _Del Tempio eretto in Possagno da Antonio Canova_,
Venice, 1833. Some give credit to Selva, but not Bassi his biographer.
See also Meeks, C. L. V., ‘Pantheon Paradigm’, _Journal of the Society
of Architectural Historians_, XIX (1960), 135-44.

Footnote 70:

See Falconetti, A., _Il Caffè Pedrocchi, dagherrotipo artistico
descrittivo_, Padua, 1847; and Cimegotto, C., and others, [Centenary
volume on the Caffè Pedrocchi], Padua, 1931.

Footnote 71:

See Montferrand, A.-R. de, _L’Église cathédrale de Saint-Isaac,
description architecturale, pittoresque, et historique_,
Saint-Pétersbourg, 1845.

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