CHAPTER 9 - Notes
[205]. See Kreisel, H., The Castles of Ludwig II of Bavaria, Darmstadt [n.d.] and Schloss Linderhof, Munich, 1959.
[206]. The design derives from the results of a competition held in 1876. Of the nine architects involved in the execution of the building, Grotjan, Lamprecht, Robertson, and Martin Haller (1835-1925) had won prizes in the competition. The tower is attributed specifically to the last and sometimes, more loosely, the whole structure.
[207]. It should be pointed out that tall mansards allowed the addition of a full storey—sometimes even two—without increasing the height of the masonry work of the façade itself; thus there were reasons of economy as well as of fashion for their spread at this time (see Chapter [14]).
[208]. For that matter the London Ritz Hotel, built in 1905-6 by Mewès & Davis, is capped with a high mansard, although the vocabulary of their façades is a discreet and academic, if overscaled, style Louis XVI and the construction—reputedly—the first example of the use of a steel skeleton of the American skyscraper type in England.
[209]. Thomas Cundy II (1790-1867) died in this year; if provided by the Estate Architects’ office, the designs were either initiated before his death or else they were entirely by his assistants, perhaps directed by his surviving brother Joseph (1795-1875). A. T. Bolton believed that the responsibility for the design lay with the builder Trollope; the Grosvenor Estate office, however, names not Trollope but the Cubitt firm as the builders. As with the Place de l’Opéra, the credit—or discredit—for this most notable and conspicuous piece of Second Empire urbanism remains rather uncertain.
[210]. See, however, Castermans, A., Parallèle des maisons de Bruxelles, Paris, 1856, which illustrates much work that is not at all Parisian.
[211]. See Poelaert, J., Le Nouveau Palais de Justice de Bruxelles, Brussels, 1904.
[212]. Semper was in England for several years after he left Dresden as a result of the revolution that also led to Wagner’s expulsion in 1848. He did no building in England, but was closely associated with Cole and his Department of Practical Art. The catafalque of the Duke of Wellington, used at the State funeral in 1852, was of his design. His Swiss period was followed by a triumphant return to Dresden to rebuild the opera-house there and his final settlement in Vienna in 1871. Since this relatively important architect appears, like Viollet-le-Duc, in unrelated contexts in several different chapters of this book, it seems well to recall here the total range of his career from its beginnings in Hamburg in the forties to its conclusion in Vienna in the seventies, passing by Dresden, London, Zurich, and Dresden a second time.
[213]. See Burnham, A., ‘The New York Architecture of Richard M. Hunt’, Journal of the Society of Architectural Historians, XI (1952), 9-14.
[214]. Of course Daly’s Revue de l’architecture reached some American architects and also his Architecture privée (see Note [[194]], Chapter [8]). See also Liénard, M., Specimens of the Decoration and Ornamentation of the XIXth Century, Boston, 1875, although by that date the vogue for such Second Empire detailing was all but over.
[215]. See Walter, T. U., Letter to the Committee on Public Buildings, in reference to an Enlargement of the Capitol [Washington, 1850], and Report of the Architect of the United States Capitol and the New Dome, Washington, 1864.
[216]. See McKenna, R. T., ‘James Renwick, Jr, and the Second Empire Style in the United States’, Magazine of Art, XLIV (1951), 97-101.
[217]. See Boston. Committee on Public Buildings, The City Hall, Boston, Boston, 1866. A considerably larger early project of 1861 emulates much more closely the new Louvre.
[218]. See Bunting, B., ‘The Plan of the Back Bay Area in Boston’, Journal of the Society of Architectural Historians, XIII (1954), 19-24.