Chapter 11: Notes

Footnote 235:

At the Centennial Exhibition in Philadelphia the larger pavilions were
all of iron and glass; and probably the most influential buildings
were the British ones designed by Thomas Harris—no longer a wild
‘Victorian’—in a mode closely approaching Norman Shaw’s ‘Manorial’
mode (see Chapter 12). However, the exhibition stimulated the
publication of several books on the Colonial architecture of
Philadelphia which played their part in preparing the way for a
‘Colonial Revival’ (see Chapters 13 and 15).

Footnote 236:

Separate American editions of vols 2 and 3 did not appear promptly in
1853 in the way that of vol. 1 did in 1851. However, the three-volume
American edition of 1861 was the first of the complete work.

Footnote 237:

See Tunnard, C., ‘Deviation by the Brothers Potter, Collegiate Gothic
at Union College, Schenectady’, _Architectural Review_, CIII (1948),
67.

Footnote 238:

See Note [197], Chapter 8.

Footnote 239:

They had, after all, first met when they were both working for R. M.
Hunt.

Footnote 240:

See Ware, W. R., _The Memorial Hall, Harvard University_, Boston,
1887.

Footnote 241:

In the 1936 edition of my book on Richardson a later Dorsheimer plan
is incorrectly associated with this Buffalo house. The house is
properly identified in Hitchcock, H.-R., ‘Richardson’s American
Express Building: A Note’, _Journal of the Society of Architectural
Historians_, IX (1950), 25-30 and in the new 1961 edition.

Footnote 242:

This is also missing from my 1936 Richardson book, but will be found
in the article cited above and in the 1961 edition of the book.

Footnote 243:

See Wight, P. B., ‘Reminiscences of Russell Sturgis’, _Architectural
Record_, XXVI (1909), 123-31. It is perhaps worth pointing out that
Farnam Hall, together with Sturgis’s contiguous Battell Chapel of 1876
and his Durfee Hall at right angles to it, although neither are of at
all comparable excellence, give this corner of the Old Campus at Yale
a consistent High Victorian Gothic character interesting to study both
in relation to the earlier Romantic Gothic of Henry Austin’s library
(now Dwight Chapel) of 1842-4 on the other side of the campus and the
‘traditional’ Collegiate Gothic of James Gamble Rogers’s
twentieth-century Harkness Quadrangle across High Street.

Footnote 244:

See Schuyler, M., ‘The Work of William Appleton Potter’,
_Architectural Record_, XXVI (1909), 176-96.

Footnote 245:

See Holly, H. H., _Church Architecture Illustrated_, Hartford, 1871.
Much more extreme models can be found in general compendia of
architectural design published in the late sixties and early
seventies.

Footnote 246:

See Campbell, W., ‘Frank Furness, an American Pioneer’, _Architectural
Review_, CX (1951), 310-15.

Footnote 247:

See ‘Another Furness Building: Provident Life and Trust Company
Building, Philadelphia’, _Architectural Review_, CXII (1952), 196,
‘Provident Trust Company Banking Room, Philadelphia’, _Journal of the
Society of Architectural Historians_, XI (1952), 31; and Massy, J. C.,
‘The Provident Trust Buildings’, _Journal of the Society of
Architectural Historians_, XIX (1960), 79-80.

Footnote 248:

See Withers, F. C., _Church Architecture_, New York, 1871.

Footnote 249:

See Upjohn, R. M., _The State Capitol, Hartford, Conn._, Boston, 1886.

Footnote 250:

It was the selection of the old Trinity College property to provide a
site for the new Capitol that led to the rebuilding of the college
elsewhere, for which Burges provided the designs (see Chapter 10).

Footnote 251:

It is worth recalling that much the same could evidently be said of
Fuller & Laver’s San Francisco municipal group; characteristically
enough for the period, this was Second Empire like their Albany
Capitol, not High Victorian Gothic (see Chapter 9).

Footnote 252:

See Viollet-le-Duc, E.-E., _Entretiens sur l’architecture_, 2 vols,
Paris, 1863, 1872; and translations, _Discourses on Architecture_, 2
vols, Boston, 1875, 1881, and _Lectures on Architecture_, 2 vols,
London, 1877, 1881. Originally the _Entretiens_ appeared in parts,
those in the first volume beginning to come out about 1860 and those
in the second some six years later.

Footnote 253:

The two most sumptuously illustrated publications concerning
Viollet-le-Duc offer very few examples of new buildings designed by
him; these must be sought in periodicals and other general
contemporary sources. See _Compositions et dessins de Viollet-le-Duc_,
Paris, 1884, and Baudot, A. de, and Roussel, J., _Dessins inédits de
Viollet-le-Duc_, 3 vols, Paris [n.d.]

Footnote 254:

The most extravagant compilation of idiosyncratic detail in
Viollet-le-Duc’s work is to be seen on the tomb of Napoleon III’s
half-brother the Duc de Morny, erected in 1858 in Père Lachaise
Cemetery in Paris. Hardly any element of the ornamentation is clearly
referable to a particular stylistic source, and the whole effect is as
‘Victorian’ as anything the wildest High Victorians ever produced in
England.

Footnote 255:

It should not be forgotten that Street’s Law Courts in London were
completed only a year before Steindl began the Budapest Parliament
House; but the Law Courts were, for England, extremely retardataire.

Footnote 256:

Burges won the competition for this in 1857, but in the end Street
received the commission and built the church in 1864-9.

Footnote 257:

See Meeks, C. L. V., ‘Churches by Street on the Via Nazionale and the
Via del Babuino’, _Art Quarterly_, XVI (1953), 215-27.

Footnote 258:

See Martinell, C., _La Sagrada Familia_, Barcelona, 1952, and Puig
Boada, I., _El Templo de la Sagrada Familia_, Barcelona, 1952. A
phenomenal number of articles have appeared concerning this church,
all listed up to his date of publication (1952) by Ráfols in the later
edition of his monograph on Gaudí.

Footnote 259:

Mixing the elements of several styles in individual buildings provided
the liveliest aspect of eclecticism at this time; the mere use of
alternative modes had chiefly the effect of blurring the edges of all
the styles of the past.

Footnote 260:

Compare, for example, Sigfried Giedion’s presentation of the period in
_Space, Time, and Architecture_.

------------------------------------------------------------------------