[175]. See Carstensen, G., The New York Crystal Palace, New York, 1854.
[176]. The date of this is often given as 1855, when Labrouste took charge of the work at the Bibliothèque Nationale, and the original project for it may well be more nearly contemporaneous with the Reading Room of the British Museum.
[177]. Six pavilions were built first and four more before 1870; the remaining two were not erected until the 1930s. See Baltard, V., and Callet, F., Monographie des Halles centrales de Paris construites sous le régne de Napolèon III, Paris, 1865.
[178]. Technically the architect of Saint-Eugène in Paris was L.-A. Lusson, and in his monograph on the church, Plans, coupes, elevations, et details de l’église ... de Saint Eugène, Paris, 1855, he does not even mention Boileau’s name. However, the credit—or, to many contemporaries, the discredit—for the character of the cast-iron Gothic interior of the Paris church has always been given to Boileau.
CHAPTER 8 - Notes
[179]. A notably extreme early example is Visconti’s Fontaine Molière of 1841-4 in the Rue de Richelieu in Paris.
[180]. Here Visconti’s taste also proves to have been premonitory. His project of 1833 for a library already had a bulbous roof over the central pavilion; while that of 1849 for the Bibliothèque Nationale in the Rue de Richelieu had bold engaged orders on the central pavilion and a tall straight-sided mansard as well.
[181]. See Hitchcock, H.-R., ‘Second Empire “avant la lettre”’, Gazette des Beaux Arts, XIII (1953), 115-30. The existence of French analogues in the forties was insufficiently stressed there, however.
[182]. See Kramer, E. W., ‘Detlef Lienau, an Architect of the Brown Decades’, Journal of the Society of Architectural Historians, XIV (1955), 18-25. Lienau was born in Schleswig-Holstein, then Danish, but received his early education in Germany. For a still earlier mansard than Lienau’s, see Dallett, J. F. ‘John Notman’s Mansard, 1848’, Journal of the Society of Architectural Historians, XIX (1960), 81.