CHAPTER 2 - Notes
[38]. Allais and others, Projets d’architecture ... qui ont mérités les grands prix, Paris, 1806, and at different dates subsequently with varying authors and titles. For a collection of earlier projects, see Rosenau, H., ‘The Engravings of the Grand Prix of the French Academy of Architecture’, Architectural History, III (1960), 17-180, since the original publication is very rare.
[39]. Durand was already well known as the compiler of the Recueil et parallèle des édifices en tout genre, anciens et modernes, Paris, 1800, a curious work in which the drawings of important buildings of all periods are freely modified to bring them into conformity with the author’s modular theories of proportion. This is conventionally known as ‘Le grand Durand’.
[40]. Rondelet, J. B., Traité théorique et pratique de l’art de bâtir, 4 vols, Paris, 1802-17. There were several later editions. From 1806 Rondelet taught at the École Spéciale d’Architecture, which was shortly afterwards merged with the École Polytechnique.
[41]. French designs of this period for houses were provided in profusion in the publications of J. C. Krafft. See Krafft, J. C., and Ransonette, N., Plans, coupes, élévations des plus belles maisons et des hôtels construits à Paris et dans les environs, Paris [c. 1802]; reprint, Paris, 1909; and Krafft, J. C., Recueil d’architecture civile, Paris, 1812; later ed., 1829. Krafft, J. C., and Thiollet, F., Choix des plus jolies maisons de Paris et de ses environs, édifices et monuments publics, Paris, 1849, may also be mentioned here although very much later. It is significant of the international availability of the earliest work listed here that it was provided with texts in French, English, and German.
[42]. Klenze, L. von, Walhalla in artistischer und technischer Beziehung, Munich, 1842.
[43]. See Hitchcock, H.-R., Early Museum Architecture, Hartford, 1934.
[44]. Grandjean de Montigny, A.-H.-V., and Famin, A.-P.-Ste-M., Architecture toscane, Paris, 1815.
[45]. See Klenze, L. von, Anweisung der Architektur des christlichen Kultus, Munich, 1834.
[46]. See Möllinger, K., Elemente des Rundbogenstiles, 2nd ed., Munich, 1848. It is convenient to retain the German term for this very Germanic round-arched style, even though it flourished in several countries besides Germany (see below in this chapter for Scandinavia, and Chapter [5] for America).
[47]. See Hübsch, H., Die altchristlichen Kirchen nach den Baudenkmalen und älteren Beschreibungen, 2 vols, Karlsruhe, 1862-3.
[48]. Durand, Précis, II, plate 13.
[49]. See Häberlin, C. L., Sanssouci, Potsdam und Umgebung, Berlin and Potsdam, 1855; Poensgen, G., Die Bauten Friedrich Wilhelms IV in Potsdam, Potsdam, 1930; Huth, H., Der Park von Sanssouci, Berlin, 1929; Kania, H., Potsdamer Baukunst, Berlin, 1926; Potsdam. Staats- und Bürgerbauten, Berlin, 1939; and Hitchcock, H.-R., ‘Romantic Architecture of Potsdam’, International Studio, 99 (1931), 46-9.
[50]. See Sievers, J., Das Palais des Prinzen Karl von Preussen, Berlin, 1928.
[51]. Notably Séheult, F.-L., Recueil d’architecture dessiné et mesuré en Italie ... dans 1791-93, Paris, 1821.
[52]. See Persius, L., Architektonische Entwürfe für den Umbau vorhandener Gebäude, Potsdam, 1849; Architektonische Ausführungen, Berlin [1860?]; and Fleetwood Hesketh, R. and P., ‘Ludwig Persius of Potsdam’, Architects Journal, LXVIII (1928), 77-87, 113-20.
[53]. Ettlinger, L., ‘A German Architect’s Visit to England in 1826’, Architectural Review, XCVII (1945), 131-4.
[54]. See Poensgen, G., Schloss Babelsberg, Berlin, 1929.
[55]. See Frölich, M., and Sperlich, H. G., Georg Moller, Baumeister der Romantik, Darmstadt, 1959.
[56]. See Semper, G., Das königliche Hoftheater zu Dresden, Brunswick, 1849.
[57]. Gärtner’s design for the Palace owes a good deal to a project prepared by Klenze for a palace on the Kerameikos hill which was never begun. Fortunately Schinkel’s more ambitious project for a palace on the Akropolis was also not carried out.
The digging away of the ground, which originally sloped up to the Palace above the square, and the introduction in the 1930s of the present retaining wall with the Tomb of the Unknown Soldier have diminished somewhat the effectiveness of the front of the Palace.
[58]. See Amodeo, A., ‘La Giovinezza di Pietro Nobile’, ‘La Maturità di Pietro Nobile’, L’Architettura, I (1955), 49-52; 378-84.
[59]. See Thorvaldsens Museum, Copenhagen, 1953.
[60]. See Hekker, H. C., ‘De Nederlandse Bouwkunst in het Begin van de Negentiende Eeuw’, Bulletin van de Kon. Ned. Oudh. Bond, IV (1951), 1-28.