[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.