[183]. See Aulanier, C., Le Nouveau Louvre de Napoleon III, Paris [1953], and Hautecoeur, L. Histoire du Louvre, Paris [n.d.]
[184]. See Pinkney, D. H., Napoleon III and the Rebuilding of Paris, Princeton, N.J., 1958. Work began on the extension of the Rue de Rivoli in 1851; but it was only in 1853 that the Emperor found in G.-E. Haussmann (1809-91), whom he made Prefect of the Seine and later a baron, an adequate collaborator and executant for his tremendous urbanistic programme.
[185]. A tour which can be taken vicariously is provided in a splendid set of lithographs of the period, Paris dans sa splendeur; from this Plates 19 and 55B are taken.
[186]. The degree of control exercised by public authority over the façades varied. For the extension of the Rue de Rivoli, continuation of Percier & Fontaine’s original design was required; and for the Place de l’Étoile and the Place de l’Opéra comprehensive designs established in advance were enforced (see below). Elsewhere only the height of the cornice line and the silhouette of the mansard were ordinarily standardized by regulation.
[187]. Built in 1855 as the Hôtel des Chemins de Fer, but now the Hôtel du Louvre, and the work of Hittorff, Rohault de Fleury, Armand, and Pellechet. Hittorff and Rohault were also collaborating on the houses surrounding the Place de l’Étoile at this time. T. L. Donaldson, reporting on the new hotel at the Royal Institute of British Architects on 22 June 1855, remarked: ‘The roof plays an important part in the design ... much of the majesty of French buildings is derived from these lofty roofs.’ Donaldson supervised the erection of the Hope house, and had thus played a personal part in the introduction of the French mansard into England six years earlier.
[188]. It is curious that there should be uncertainty about the authorship of a complex so central to the building activity of its era. The Grand Hotel which occupies the corner of the Boulevard des Italiens to the left of the Opéra was by the team responsible for the Hôtel des Chemins de Fer at the other end of the avenue (see Note [[187]]). Pinkney in Napoleon III and the Rebuilding of Paris, the latest to discuss the subject, gives credit for all the façades around the Place de l’Opéra to Rohault; Hautecoeur assigns the rounded pavilions opposite the front of the Opéra to Blondel and mentions no other architect. Whoever was responsible, Garnier felt they were much too tall and confining for his Opéra.
[189]. See Garnier, J.-L.-C., Le nouvel Opéra de Paris, 2 vols text and 6 vols plates, Paris, 1875-81.
[190]. By this time Viollet-le-Duc was far more ‘Victorian’ than Garnier, yet his secular work had become so eclectic and even original in detail as hardly any longer to be Neo-Gothic at all (see Chapter [11].
[191]. See Daly, C., and Davioud, G.-J.-A., Les théâtres de la Place du Châtelet, Paris, 1860.
[192]. See Notice du Palais de Longchamps à Marseille, Marseilles, 1872.