CHAPTER 6 - Notes
[106]. Hussey devotes only a portion of his book to the Picturesque in architecture. See also Pevsner, N., ‘The Picturesque in Architecture’, Journal of the Royal Institute of British Architects, LV (1947), 55-61. C. L. V. Meeks in ‘Picturesque Eclecticism’, Art Bulletin, XXXII (1950), 226-35, extends the range of the Picturesque to include considerably more of nineteenth-century architecture than is usual. As with ‘Romantic’ or ‘Classical’, it makes a difference whether or not one uses a capital; with a capital it seems best to restrict the term Picturesque to the late eighteenth and early nineteenth centuries, although the point of view lasted down into the fifties, and it is also possible to recognize a sort of ‘Neo-Picturesque’ in the seventies and eighties (see Chapters [12] and [13] particularly).
[107]. See Note [[19]], Chapter [1].
[108]. Thomas Hopper was even more addicted to the ‘Neo-Norman’, as Gosford Castle in Ireland, begun in 1819, and the rather late Penrhyn Castle of 1827-37 near Bangor in Wales, all built of Mona marble and with a keep copied from that of twelfth-century Hedingham Castle in Essex, splendidly illustrate. See Fedden, R. R., ‘Thomas Hopper and the Norman Revival’, in Studies in Architectural History, II (1956).
[109]. See Musgrave, C., Royal Pavilion; a Study in the Romantic, Brighton, 1951; and Roberts, H. D., A History of the Royal Pavilion, Brighton, London, 1939.
[110]. See Stroud, D., Henry Holland, London, 1950.
[111]. Repton’s scheme was much less eclectic than Nash’s, being entirely based, like Sezincote, on the Daniells’ book on India (see Chapter [1]).
[112]. See Dale, A., Fashionable Brighton, 1820-1860, London, 1947; and History and Architecture of Brighton, Brighton, 1950.
[113]. The work was begun in 1818 and continued down into the thirties. See Thompson, Francis, A History of Chatsworth, London, 1949.
[114]. See Clark, E., The Britannia and Conway Tubular Bridges, 2 vols and album, London, 1850.
[115]. This was begun only in 1837 and completed, without the elaborate Egyptian decoration that Brunel originally intended, by W. H. Barlow (1812-1902) in 1864.
[116]. See Donner, P., ‘Edensor, or Brown come True’, Architectural Review, XCV (1944), 39-43; and Chadwick’s The Works of Sir Joseph Paxton, 162-5, which gives primary credit to Paxton.
[117]. See Loudon, J. C., Encyclopaedia of Cottage, Farm and Villa Architecture and Furniture, London, 1833; 2nd ed. with Supplement, 1842. This is the culminating anthology of the Picturesque, summarizing and all but concluding some forty years of Cottage and Villa Book production in England.
[118]. In addition to the treatises of C. L. Eastlake, Sir Kenneth Clark, Basil F. L. Clarke, and Marcus Whiffen listed in the Bibliography, see Kamphausen, A., Gotik ohne Gott: ein Beitrag zur Deutung der Neugotik und des 19. Jahrhunderts, Tübingen, 1952.
[119]. See Britton, J., The Architectural Antiquities of Great Britain, 5 vols, London, 1804-14; Cathedral Antiquities of Great Britain, 14 parts, 1814-35; etc.
[120]. See Pugin, A. C., and Willson, E. J., Specimens of Gothic Architecture, 2 vols, London [1821]; Examples of Gothic Architecture, London, 1831. Two more volumes of the Examples were published by A. W. N. Pugin after his father’s death.
[121]. See Rickman, T., An Attempt to Discriminate the Styles of English Architecture, London [1817]; many later editions. The terms Rickman introduced here—Early English, Decorated, and Perpendicular—for the successive phases of the English Gothic are still in general use. For Rickman’s use of iron in his early churches in Liverpool, see Chapter 7.
[122]. See Whiffen, M., ‘Rickman and Cambridge’, Architectural Review, XCVIII (1945), 160-3.
[123]. Pugin’s really important books concerning architecture were three: Contrasts, or a Parallel between the Architecture of the 15th and 19th Centuries, London, 1836; The True Principles of Pointed or Christian Architecture, London, 1841; and An Apology for the Revival of Christian Architecture in England, London, 1843. All of these have later editions which sometimes show significant omissions and additions.
[124]. Founded at Cambridge University in 1839 and later known as the Ecclesiological Society. The Society’s periodical, The Ecclesiologist, which began to appear in 1841, together with their other publications, had a notable influence on architectural development in England and English-speaking countries in the forties and fifties and even later. See White, J. F., The Cambridge Movement, Cambridge, 1962.
[125]. See Bonnar, T., Biographical Sketch of G. Meikle Kemp, Edinburgh and London, 1892.
[126]. The palace-planning of one Durand pupil, Klenze, behind the regular façade of his Königsbau in Munich is actually very unsymmetrical and episodic, as Giedion points out in his Spätbarocker und romantischer Klassizismus.
[127]. See Summerson, J., ‘Pugin at Ramsgate’, Architectural Review, CIII (1948), 163-6.
[128]. An influential publication of this period was Hopkins, J., Essay on Gothic Architecture, Burlington, 1836. Bishop Hopkins himself designed and built several churches of the rather feeble Gothick order of the plates in this book.
[129]. See Upjohn, R., Upjohn’s Rural Architecture, New York, 1852.
[130]. See Wills, F., Ancient English Ecclesiastical Architecture ..., New York, 1850, which includes designs for new churches. Similar is Hart, J., Designs for Parish Churches in the Three Styles of English Church Architecture, New York, 1857.
[131]. Downing’s major work, A Treatise on the Theory and Practice of Landscape Gardening adapted to North America, New York and London, 1841, with later editions to 1879 (and twentieth-century reprints), devotes only a chapter to house design. His really influential architectural books were Cottage Residences, New York, 1842, with later editions to 1887, and The Architecture of Country Houses, New York, 1850, with later editions to 1866.
[132]. See Scully, V. J., ‘Romantic Rationalism and the Expression of Structure in Wood: Downing, Wheeler, Gardner and the “Stick Style”, 1840-1876’, Art Bulletin, XXXV (1953), 121-42.
[133]. See Robinson, P. F., Rural Architecture, London, 1822, with later editions to 1836, and also his Designs for Ornamental Villas, London, 1827, again with later editions to 1836.
[134]. The handsomest and one of the most authoritative mid-century books on chalets was by Graffenried and Sturler, Architecture suisse, Berne, 1844.
[135]. See Vaux, C., Villas and Cottages, New York, 1857, with later editions to 1874.
[136]. See Lancaster, C., ‘Oriental Forms in American Architecture’, Art Bulletin, XXIX (1947), 183-93. For other work of Samuel Sloan, a very productive mid-century architect and architectural writer, see Coolidge, H. N., ‘A Sloan Checklist, 1849-1884’, Journal of the Society of Architectural Historians, XIX (1960), 34-8.
[137]. See Owen, R. D., Hints on Public Architecture, New York, 1849.
[138]. Of the Seven Lamps, of the first volume of the Stones of Venice, and of the Lectures on Architecture and Painting, American editions appeared respectively in 1849, 1851, and 1854, the same years as the original London editions, and were succeeded by new issues and new editions at a pace far exceeding that maintained by the original publishers in England. In part this may merely mean that the American editions, all pirated, were smaller; but it is certainly evidence of an avid and extensive body of American readers from the mid century down to 1900.
[139]. See Chenesseau, G., Sainte-Croix d’Orléans; histoire d’une cathédrale gothique réedifiée par les Bourbons, 1599-1829, 3 vols, Paris, 1921.
The design of 1707 for the façade was by Robert de Cotte, J.-H. Mansart’s principal lieutenant. The work was carried on more actively by A.-J. Gabriel under Louis XV. With the Restoration in 1816 Louis XVIII took up the completion of the project—which Napoleon had actually ordered before Waterloo—as part of the general preoccupation of the Restoration with a strengthening of the Church, and Charles X opened the finished church in 1829. Thus the renewal of activity here in the second decade of the nineteenth century precedes the other Neo-Gothic work described below by some twenty years. But credit—or discredit—for its Rococo-Gothic character belongs to the eighteenth not to the nineteenth century.
[140]. See Rotrou, E. de, Dreux, ses antiquités, Chapelle St Louis, Dreux, 1864.
[141]. The aesthetic climate of the period is presented in several books: Rosenthal, L., L’Art et les artistes romantiques, Paris, 1928; Robiquet, J., L’Art et le goût sous la Restauration, Paris, 1928; Schommer, P., L’Art décoratif au temps du Romantisme, Paris, 1928. These were published in advance of the ‘Centenaire du Romantisme’ in 1930.
[142]. See Thiénon, C., Voyage pittoresque dans le Bocage de la Vendée, ou vues de Clisson et ses environs, Paris, 1817.
[143]. In 1836 Viollet-le-Duc wrote to his father that every greengrocer had a small Italian Villa with a tower, but this is patently a rhetorical exaggeration.
[144]. See Kaufmann, E., Three Revolutionary Architects, Boullée, Ledoux and Lequeu, Philadelphia, 1952.
[145]. See Heideloff, K., Nürnberg’s Baudenkmale der Vorzeit, Nuremberg, 1839; and Die Kunst des Mittelalters in Schwaben, Stuttgart, 1855. His Ornaments of the Middle Ages (to give it its English title), which began to appear in Nuremberg in 1838, had several editions with French and English text.
[146]. This is least true in France, where the Neo-Catholic intellectuals were Gothic enthusiasts and succeeded in imposing Gothic on the architects, few of whom ever took to it with whole-hearted enthusiasm. Even Viollet-le-Duc, after the forties, was confusedly eclectic in most of his newly designed buildings as distinguished from his ‘restorations’ and his completions of unfinished medieval monuments (see Chapter [11]).