CHAPTER 11 - Notes

[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]).

[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.

[237]. See Tunnard, C., ‘Deviation by the Brothers Potter, Collegiate Gothic at Union College, Schenectady’, Architectural Review, CIII (1948), 67.

[238]. See Note [[197]], Chapter [8].

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

[240]. See Ware, W. R., The Memorial Hall, Harvard University, Boston, 1887.

[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.

[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.

[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.

[244]. See Schuyler, M., ‘The Work of William Appleton Potter’, Architectural Record, XXVI (1909), 176-96.

[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.

[246]. See Campbell, W., ‘Frank Furness, an American Pioneer’, Architectural Review, CX (1951), 310-15.

[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.

[248]. See Withers, F. C., Church Architecture, New York, 1871.

[249]. See Upjohn, R. M., The State Capitol, Hartford, Conn., Boston, 1886.

[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]).

[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]).

[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.

[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.]

[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.

[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.

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

[257]. See Meeks, C. L. V., ‘Churches by Street on the Via Nazionale and the Via del Babuino’, Art Quarterly, XVI (1953), 215-27.

[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.

[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.

[260]. Compare, for example, Sigfried Giedion’s presentation of the period in Space, Time, and Architecture.