[193]. See Daly, C., L’Architecture privée au XIXe siècle ... sous Napoléon III; nouvelles maisons de Paris et des environs, 3 vols, Paris, 1864; Calliat, V., Parallèle des nouvelles maisons de Paris, vol. II, Paris, 1864; Adam, Leveil, and LeBlanc, Recueil des maisons les plus remarquables, Paris, 1858; and Maisons les plus remarquables de Paris, Paris, 1870. César Daly, as editor of the Revue de l’architecture, also determined the character of the material that periodical offered in this period.
[194]. It is awkward that the long career of Viollet-le-Duc, like that of Semper, does not fall largely within any single chapter of this book. Active from the forties until the seventies, leading restorer of medieval monuments of his age in France, leading medieval archaeologist of Europe, controversial reformer of French architectural education (at least in posse), author of influential critical books, he was the inspirer—by his writings rather than his executed work—of a later generation of architectural innovators abroad perhaps even more notably than at home. His failure to conform to the normal pattern of architectural life that usually confines a particular man’s significant activity within some one phase of architectural development—such as, on the whole, each chapter of this book deals with—makes it necessary to present his career in piecemeal fashion. It is partly covered in Chapter 6, with a few further mentions in this chapter, and—more significantly—in Chapter [11] in this Part and Chapter [16] at the beginning of Part Three. It is worth noting that Viollet-le-Duc is the only architect who enters this book in each of its three parts, even though it is only as an influence, not an executant, that he comes into the last part.
[195]. And some contemporaries were ready to say Sicilian! It was started—or at least commissioned—some years before the first volume of the great treatise on Syrian architecture appeared: Vogüé, C.-J.-M. de, Syrie Centrale, 2 vols, Paris, 1865-77. But Vaudremer must have seen the drawings of Kalat Seman published by Duthuit in the Gazette des architectes et du bâtiment, 1864, No. 7, 79.
[196]. See Daumet, H., Notice sur M. Abadie, Paris, 1886. It is relevant that Abadie became Diocesan Architect of Périgueux in 1874, the same year he began the Sacré-Cœur, the competition for which he had won two years earlier.
[197]. For characteristic French prize projects that were admired and emulated abroad, see Les grands prix de Rome d’architecture de 1850-1900, Paris [n.d.]
[198]. For the Massachusetts institution, see Ware, W. R., An Outline of a Course of Architectural Instruction, Boston, 1866; for Columbia, see idem, ‘The Instruction in Architecture at the School of Mines’, School of Mines Quarterly, X (1888), 28-43.
[199]. Yet one of the boldest modern architects of Latin America, Carlos Raúl Villanueva (b. 1900) of Venezuela, was educated at the École des Beaux-Arts itself; and most of the other modern architects in these countries—those over forty at least—were trained in the local Escuelas de Bellas Artes based on the Paris original.
[200]. The most conspicuous exception, dominating the whole city, is the Mole Antonelliana. This extraordinary edifice, begun by Alessandro Antonelli (1798-1880) in 1863, more than rivals his very tall earlier dome on San Gaudenzio in Novara, designed in 1840. Never really completed, the construction of the Mole continued intermittently down to Antonelli’s death. By its great height and in some of the technicalities of its construction it rivals the Eiffel Tower and the early American skyscrapers which are posterior to it by several decades. Yet Antonelli arrived at no coherent expression of his structural innovations and, to judge from the successive purposes for which the structure has been intended to serve or has served, no real capacity to provide a functionally viable building. On the whole, as its present name implies, this is a monument chiefly to its designer’s megalomania.
[201]. See Reed, H. H., ‘Rome: The Third Sack’, Architectural Review, CVII (1950), 91-110.
[202]. The third prominent edifice, surprisingly enough, is High Victorian Gothic. St Paul’s, the American church, is by the English architect G. E. Street, and its curious relation to the characteristic academic blocks by Koch and his contemporaries can be appreciated on Plate [100] (see Chapter [11]).