Chapter 6: Notes

Footnote 106:

Hussey devotes only a portion of his book to the Picturesque in
architecture. See also Pevsner, N., ‘The Picturesque in Architecture’,
_Journal of the Royal Institute of British Architects_, LV (1947),
55-61. C. L. V. Meeks in ‘Picturesque Eclecticism’, _Art Bulletin_,
XXXII (1950), 226-35, extends the range of the Picturesque to include
considerably more of nineteenth-century architecture than is usual. As
with ‘Romantic’ or ‘Classical’, it makes a difference whether or not
one uses a capital; with a capital it seems best to restrict the term
Picturesque to the late eighteenth and early nineteenth centuries,
although the point of view lasted down into the fifties, and it is
also possible to recognize a sort of ‘Neo-Picturesque’ in the
seventies and eighties (see Chapters 12 and 13 particularly).

Footnote 107:

See Note [19], Chapter 1.

Footnote 108:

Thomas Hopper was even more addicted to the ‘Neo-Norman’, as Gosford
Castle in Ireland, begun in 1819, and the rather late Penrhyn Castle
of 1827-37 near Bangor in Wales, all built of Mona marble and with a
keep copied from that of twelfth-century Hedingham Castle in Essex,
splendidly illustrate. See Fedden, R. R., ‘Thomas Hopper and the
Norman Revival’, in _Studies in Architectural History_, II (1956).

Footnote 109:

See Musgrave, C., _Royal Pavilion; a Study in the Romantic_, Brighton,
1951; and Roberts, H. D., _A History of the Royal Pavilion, Brighton_,
London, 1939.

Footnote 110:

See Stroud, D., _Henry Holland_, London, 1950.

Footnote 111:

Repton’s scheme was much less eclectic than Nash’s, being entirely
based, like Sezincote, on the Daniells’ book on India (see Chapter 1).

Footnote 112:

See Dale, A., _Fashionable Brighton, 1820-1860_, London, 1947; and
_History and Architecture of Brighton_, Brighton, 1950.

Footnote 113:

The work was begun in 1818 and continued down into the thirties. See
Thompson, Francis, _A History of Chatsworth_, London, 1949.

Footnote 114:

See Clark, E., _The Britannia and Conway Tubular Bridges_, 2 vols and
album, London, 1850.

Footnote 115:

This was begun only in 1837 and completed, without the elaborate
Egyptian decoration that Brunel originally intended, by W. H. Barlow
(1812-1902) in 1864.

Footnote 116:

See Donner, P., ‘Edensor, or Brown come True’, _Architectural Review_,
XCV (1944), 39-43; and Chadwick’s _The Works of Sir Joseph Paxton_,
162-5, which gives primary credit to Paxton.

Footnote 117:

See Loudon, J. C., _Encyclopaedia of Cottage, Farm and Villa
Architecture and Furniture_, London, 1833; 2nd ed. with Supplement,
1842. This is the culminating anthology of the Picturesque,
summarizing and all but concluding some forty years of Cottage and
Villa Book production in England.

Footnote 118:

In addition to the treatises of C. L. Eastlake, Sir Kenneth Clark,
Basil F. L. Clarke, and Marcus Whiffen listed in the Bibliography, see
Kamphausen, A., _Gotik ohne Gott: ein Beitrag zur Deutung der Neugotik
und des 19. Jahrhunderts_, Tübingen, 1952.

Footnote 119:

See Britton, J., _The Architectural Antiquities of Great Britain_, 5
vols, London, 1804-14; _Cathedral Antiquities of Great Britain_, 14
parts, 1814-35; etc.

Footnote 120:

See Pugin, A. C., and Willson, E. J., _Specimens of Gothic
Architecture_, 2 vols, London [1821]; _Examples of Gothic
Architecture_, London, 1831. Two more volumes of the _Examples_ were
published by A. W. N. Pugin after his father’s death.

Footnote 121:

See Rickman, T., _An Attempt to Discriminate the Styles of English
Architecture_, London [1817]; many later editions. The terms Rickman
introduced here—Early English, Decorated, and Perpendicular—for the
successive phases of the English Gothic are still in general use. For
Rickman’s use of iron in his early churches in Liverpool, see Chapter
7.

Footnote 122:

See Whiffen, M., ‘Rickman and Cambridge’, _Architectural Review_,
XCVIII (1945), 160-3.

Footnote 123:

Pugin’s really important books concerning architecture were three:
_Contrasts, or a Parallel between the Architecture of the 15th and
19th Centuries_, London, 1836; _The True Principles of Pointed or
Christian Architecture_, London, 1841; and _An Apology for the Revival
of Christian Architecture in England_, London, 1843. All of these have
later editions which sometimes show significant omissions and
additions.

Footnote 124:

Founded at Cambridge University in 1839 and later known as the
Ecclesiological Society. The Society’s periodical, _The
Ecclesiologist_, which began to appear in 1841, together with their
other publications, had a notable influence on architectural
development in England and English-speaking countries in the forties
and fifties and even later. See White, J. F., _The Cambridge
Movement_, Cambridge, 1962.

Footnote 125:

See Bonnar, T., _Biographical Sketch of G. Meikle Kemp_, Edinburgh and
London, 1892.

Footnote 126:

The palace-planning of one Durand pupil, Klenze, behind the regular
façade of his Königsbau in Munich is actually very unsymmetrical and
episodic, as Giedion points out in his _Spätbarocker und romantischer
Klassizismus_.

Footnote 127:

See Summerson, J., ‘Pugin at Ramsgate’, _Architectural Review_, CIII
(1948), 163-6.

Footnote 128:

An influential publication of this period was Hopkins, J., _Essay on
Gothic Architecture_, Burlington, 1836. Bishop Hopkins himself
designed and built several churches of the rather feeble Gothick order
of the plates in this book.

Footnote 129:

See Upjohn, R., _Upjohn’s Rural Architecture_, New York, 1852.

Footnote 130:

See Wills, F., _Ancient English Ecclesiastical Architecture ..._, New
York, 1850, which includes designs for new churches. Similar is Hart,
J., _Designs for Parish Churches in the Three Styles of English Church
Architecture_, New York, 1857.

Footnote 131:

Downing’s major work, _A Treatise on the Theory and Practice of
Landscape Gardening adapted to North America_, New York and London,
1841, with later editions to 1879 (and twentieth-century reprints),
devotes only a chapter to house design. His really influential
architectural books were _Cottage Residences_, New York, 1842, with
later editions to 1887, and _The Architecture of Country Houses_, New
York, 1850, with later editions to 1866.

Footnote 132:

See Scully, V. J., ‘Romantic Rationalism and the Expression of
Structure in Wood: Downing, Wheeler, Gardner and the “Stick Style”,
1840-1876’, _Art Bulletin_, XXXV (1953), 121-42.

Footnote 133:

See Robinson, P. F., _Rural Architecture_, London, 1822, with later
editions to 1836, and also his _Designs for Ornamental Villas_,
London, 1827, again with later editions to 1836.

Footnote 134:

The handsomest and one of the most authoritative mid-century books on
chalets was by Graffenried and Sturler, _Architecture suisse_, Berne,
1844.

Footnote 135:

See Vaux, C., _Villas and Cottages_, New York, 1857, with later
editions to 1874.

Footnote 136:

See Lancaster, C., ‘Oriental Forms in American Architecture’, _Art
Bulletin_, XXIX (1947), 183-93. For other work of Samuel Sloan, a very
productive mid-century architect and architectural writer, see
Coolidge, H. N., ‘A Sloan Checklist, 1849-1884’, _Journal of the
Society of Architectural Historians_, XIX (1960), 34-8.

Footnote 137:

See Owen, R. D., _Hints on Public Architecture_, New York, 1849.

Footnote 138:

Of the _Seven Lamps_, of the first volume of the _Stones of Venice_,
and of the _Lectures on Architecture and Painting_, American editions
appeared respectively in 1849, 1851, and 1854, the same years as the
original London editions, and were succeeded by new issues and new
editions at a pace far exceeding that maintained by the original
publishers in England. In part this may merely mean that the American
editions, all pirated, were smaller; but it is certainly evidence of
an avid and extensive body of American readers from the mid century
down to 1900.

Footnote 139:

See Chenesseau, G., _Sainte-Croix d’Orléans; histoire d’une cathédrale
gothique réedifiée par les Bourbons, 1599-1829_, 3 vols, Paris, 1921.

The design of 1707 for the façade was by Robert de Cotte, J.-H.
Mansart’s principal lieutenant. The work was carried on more actively
by A.-J. Gabriel under Louis XV. With the Restoration in 1816 Louis
XVIII took up the completion of the project—which Napoleon had
actually ordered before Waterloo—as part of the general preoccupation
of the Restoration with a strengthening of the Church, and Charles X
opened the finished church in 1829. Thus the renewal of activity here
in the second decade of the nineteenth century precedes the other
Neo-Gothic work described below by some twenty years. But credit—or
discredit—for its Rococo-Gothic character belongs to the eighteenth
not to the nineteenth century.

Footnote 140:

See Rotrou, E. de, _Dreux, ses antiquités, Chapelle St Louis_, Dreux,
1864.

Footnote 141:

The aesthetic climate of the period is presented in several books:
Rosenthal, L., _L’Art et les artistes romantiques_, Paris, 1928;
Robiquet, J., _L’Art et le goût sous la Restauration_, Paris, 1928;
Schommer, P., _L’Art décoratif au temps du Romantisme_, Paris, 1928.
These were published in advance of the ‘Centenaire du Romantisme’ in
1930.

Footnote 142:

See Thiénon, C., _Voyage pittoresque dans le Bocage de la Vendée, ou
vues de Clisson et ses environs_, Paris, 1817.

Footnote 143:

In 1836 Viollet-le-Duc wrote to his father that every greengrocer had
a small Italian Villa with a tower, but this is patently a rhetorical
exaggeration.

Footnote 144:

See Kaufmann, E., _Three Revolutionary Architects, Boullée, Ledoux and
Lequeu_, Philadelphia, 1952.

Footnote 145:

See Heideloff, K., _Nürnberg’s Baudenkmale der Vorzeit_, Nuremberg,
1839; and _Die Kunst des Mittelalters in Schwaben_, Stuttgart, 1855.
His _Ornaments of the Middle Ages_ (to give it its English title),
which began to appear in Nuremberg in 1838, had several editions with
French and English text.

Footnote 146:

This is least true in France, where the Neo-Catholic intellectuals
were Gothic enthusiasts and succeeded in imposing Gothic on the
architects, few of whom ever took to it with whole-hearted enthusiasm.
Even Viollet-le-Duc, after the forties, was confusedly eclectic in
most of his newly designed buildings as distinguished from his
‘restorations’ and his completions of unfinished medieval monuments
(see Chapter 11).

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