[100]. See Schuyler, M., ‘A Great American Architect; Leopold Eidlitz’, Architectural Record, XXIV, 163-79, 277-92, 364-78, and, for a more general treatment, Meeks, C. L. V., ‘Romanesque before Richardson in the United States’, Art Bulletin, XXXV (1953), 17-33.
[101]. See Stone, E. M., The Architect and Monetarian: a Brief Memoir of Thomas Alexander Tefft, Providence, R.I., 1869, and Wriston, B., ‘Architecture of Thomas Tefft’, Rhode Island School of Design Bulletin, XVIII (1940), 37-45.
[102]. See Meeks, C. L. V., ‘Henry Austin and the Italian Villa’, Art Bulletin, XXX (1948), 145 ff.
[103]. See Smith, R. C., John Notman and the Atheneum Building, Philadelphia, 1951.
[104]. See Young, A. B., New Custom House, Boston, Boston, 1840. The tower that now replaces the dome was built by Peabody & Stearns in 1913-15; it was the first real skyscraper in Boston.
[105]. See Young, A. B., Plans of Public Buildings in Course of Construction under the Direction of the Secretary of the Treasury, [Washington] 1855-6.
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).