Chapter 10: Notes

Footnote 219:

Despite the ‘correctness’ of Butterfield’s detailing, an idiosyncratic
coarsening can be noted at St Augustine’s College in Canterbury and in
other work by him done several years before All Saints’; yet, by
contrast to other aspects of his mature style, his moulded detail
remained conventional.

Footnote 220:

Since building Christ Church, Streatham, at the opening of the decade,
Wild had been busy in Egypt. His curious St Mark’s, Alexandria, as
Saracenic as his detractors accused the Streatham church of being, was
unhappily never brought to completion. Designed in 1842, work was
suspended for lack of funds in 1848 and Wild then returned to England.

Footnote 221:

Deane owed his knighthood to having been Mayor of Cork, not to his
professional attainments. It would appear that Woodward did all the
firm’s designing and, after his death in 1861, Deane’s son Thomas
Newenham took over.

Footnote 222:

See Viollet-le-Duc, E.-E., _Dictionnaire raisonné de l’architecture
française du XI^e au XVI^e siècle_, 10 vols., Paris, 1854-68.

Footnote 223:

See Mackail, J. W., _The Life of William Morris_, London, 1899.

Footnote 224:

Burges designed this in 1868 in his most archaeological and
articulated French Gothic manner. Construction began only in 1893,
long after Burges’s death, and the suave quality of the execution, so
uncharacteristic of the still High Victorian date of the original
design, is thereby explained; at best the design was singularly out of
key with what Bodley had built.

Footnote 225:

Since this is a Catholic church, and by a man who knew French Gothic
architecture well, it provides the fairest possible comparison with
Viollet-le-Duc’s own new church of Saint-Denys-de-l’Estrée at St-Denis
designed at almost precisely the same time (Plate 98). Viollet-le-Duc
is world-famous; Clutton is not generally considered even in England
one of the leaders of his generation; yet the superiority of the
Leamington church to the St-Denis church is very considerable indeed
both inside and out.

Footnote 226:

See Harbron, D., ‘Thomas Harris’, _Architectural Review_, XCII (1942),
63-6, and Donner, P., ‘Harris Florilegium’, _Architectural Review_,
XCIII (1943), 51-2.

Footnote 227:

This is spoilt externally by an unfortunate tower added by his son A.
E. Street (1855-1938) in 1884-5.

Footnote 228:

See _The National Memorial to H.R.H. the Prince Consort_ [London],
1873.

Footnote 229:

Scott’s aspirations for architecture, in general more sympathetic than
what he built, will be found in his _Remarks on Secular and Domestic
Architecture, Present and Future_, London, 1858.

Footnote 230:

Although Woodward’s death occurred in the same year 1861 that this
club was begun, it is possible, even probable, that the original
design was his.

Footnote 231:

See Nesfield, W. E., _Specimens of Mediaeval Architecture ... in
France and Italy_, London, 1862.

Footnote 232:

The intentions of the church builders in this decade are well
presented in Micklethwaite, J. T., _Modern Parish Churches, their
Plan, Design, and Furnishing_, London, 1874.

Footnote 233:

An extraordinary example of the use of Victorian Gothic for a somewhat
unexpected purpose was Columbia Market by H. A. Darbishire (1839-1908)
set down in 1866-8 among the grim housing blocks that he built for the
philanthropist Angela Burdett-Coutts. See Wilson, F. M., ‘Ypres at
Bethnal Green’, _Architectural Review_, XCVI (1944), 131-4.

Footnote 234:

Godwin’s active and distinguished Victorian Gothic period concluded
with the building of two castles in Ireland, Dromore at Pallaskenny
for the Earl of Limerick in 1867-9 and Glenbegh in 1868-71. Burges was
with him in Ireland when he designed Dromore, and its decorations and
furnishings rival in elaboration and exceed in elegance what Burges
did for Lord Bute at Cardiff and Castell Coch in these years. A row
with the client for Glenbegh, who complained of drastic leakage, in
which Godwin’s then partner Crisp deserted him, did Godwin much harm
professionally. He was still a relatively important figure in the Late
Victorian seventies, but more as a decorator than as an architect (see
Chapter 12).

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