[12]. See Rosenau, H., ‘George Dance the Younger’, Journal of the Royal Institute of British Architects, LIV (1947), 502-7. Even more significant of developing Romantic Classical taste at this point was the character of the designs in Peyre, M.-J., Livre sur l’architecture, Paris, 1765.
[13]. See Rosenau, H. (ed.), Boullée’s Treatise on Architecture, London, 1953; and Boullée, E.-L., Mémoire sur ... la Bibliothèque du Roi ..., [Paris] 1785.
[14]. This more classical arrangement was first proposed in the 1760s by Pierre Patte (1723-1814), a theorist in the Blondel tradition, on the analogy of Palladio’s theatre in Vicenza.
[15]. This is not true, however, of much of his executed work at Arc-et-Senans which has heavily plastic roofs of various shapes.
[16]. So did Friedrich Gilly in Germany and—according to Kaufmann—Valadier in Italy.
CHAPTER 1 - Notes
[17]. See Steel, H. R., and Yerbury, F. R., The Old Bank of England, London, 1930, for photographic coverage of this monument of which the interiors were largely destroyed in the 1920s, and even the exterior considerably—and unnecessarily—modified (see Chapter [24]).
[18]. See Britton, J., Illustrations of Fonthill Abbey, London, 1823; Rutter, J., An Illustrated History and Description of Fonthill Abbey, Shaftesbury, 1823; and Storer, J., A Description of Fonthill Abbey, Wiltshire, London, 1812. The most extensive modern account of the building of Fonthill Abbey is given by Brockman, H. A. N., The Caliph of Fonthill, London [1956].
[19]. See Pevsner, N., ‘The Genesis of the Picturesque’, Architectural Review, XCVI (1944), 139-46, and Pevsner, N., ‘Richard Payne Knight’, Art Bulletin, XXXI (1949), 293-320.