Chapter 17: Notes

Footnote 381:

See Malton, J., ‘Art Nouveau in Essex’, _Architectural Review_, CXXVI
(1959), 100-4. For a considerably earlier and more extraordinary
example of English work approaching the Art Nouveau, see Beazley, E.,
‘Watts Chapel’, _Architectural Review_, CXXX (1961), 166-72. This
chapel at Compton, Surrey, was designed in 1896 by Mary Watts, the
widow of the painter G. F. Watts. The inspiration seems to have been
predominantly Norse and Celtic.

Footnote 382:

See Gout, P., _L’Architecture au XX^e siècle et l’Art Nouveau_, Paris,
1903.

Footnote 383:

See Hostingue, G. d’, _Le Castel Béranger, œuvre de H. G.,
architecte_, Paris, 1898.

Footnote 384:

Both the main façade and the principal interior are essentially the
work of Deglane. Louvet and Thomas were more responsible for other
elements of the complex structure.

Footnote 385:

See _L’architecture moderne à Paris, concours de façades_, 2 vols,
Paris, 1901, 1902.

Footnote 386:

See Uhry, E., ‘Agrandissements des magasins de la Samaritaine’,
_L’Architecte_, II (1907), 13-14, 20, plates X-XII.

Footnote 387:

I owe my knowledge of this remarkable façade to Martin Kermacy. He was
unable to find out by whom and when it was built; it is very probably
an early work of Josef Urban, Novotny informs me.

Footnote 388:

For another rather independent Scottish architect of this period, see
Walker, D. M., ‘Lamond of Dundee’, _Architectural Review_, CXXIII
(1958), 269-71.

Footnote 389:

See Scheichenbauer, M., _Alfredo Campanini_, Milan, 1958.

Footnote 390:

See Note [259], Chapter 11.

Footnote 391:

Among other things, it is Gaudi’s use of forms inspired by primitive
architecture that has appealed to later twentieth-century taste.
‘Primitivism’ in painting and sculpture has been of recurrent
importance since the days of the Fauves and the Expressionists; a
comparable primitivism in architecture has been much rarer, except for
Gaudí.

Footnote 392:

Except as regards the theories of vaulting exemplified in successive
schemes for the Sagrada Familia and his church at Santa Coloma de
Cervelló, Gaudí’s technical innovations have been until lately little
studied despite the very considerable literature devoted to his work.
Research is proving that he made many important innovations in
structure over and above those so evident in the crypt—the only
portion executed—of the Santa Coloma church. George Collins showed
some of the results, as yet unpublished, of the latest studies in an
exhibition at Columbia University in May 1962.

Footnote 393:

While the mosaic of broken fragments of patterned ceramic on the
benches at the Parc Güell suggests Cubist _collages_ and even Dada
compositions—notably the _Merzbilder_ of Kurt Schwitters—the handling
of the coloured glass on this façade is closer to the paintings of
Jackson Pollock and other New York artists of the 1950s.

Footnote 394:

A curious continuation, or more accurately revival, of Gaudian modes
has of late occurred in Portuguese Africa. See Beinart, J., ‘Amancio
Guedes, Architect of Lourenço Marques’, _Architectural Review_, CXXIX
(1961), 240-51.

Footnote 395:

Even Gaudí after 1910 produced little, being almost wholly occupied
with the slow progress of the Sagrada Familia. Of course, in a sense
Horta is another exception; but his success after 1910 was of purely
local significance and dependent on his total rejection of the Art
Nouveau of his youth. One can only think of the later career of
Giorgio de Chirico, still today a success in Italy but ignored by the
outside world except when he imitates his earlier work.

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