[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.