[237]. See Tunnard, C., ‘Deviation by the Brothers Potter, Collegiate Gothic at Union College, Schenectady’, Architectural Review, CIII (1948), 67.
[238]. See Note [[197]], Chapter [8].
[239]. They had, after all, first met when they were both working for R. M. Hunt.
[240]. See Ware, W. R., The Memorial Hall, Harvard University, Boston, 1887.
[241]. In the 1936 edition of my book on Richardson a later Dorsheimer plan is incorrectly associated with this Buffalo house. The house is properly identified in Hitchcock, H.-R., ‘Richardson’s American Express Building: A Note’, Journal of the Society of Architectural Historians, IX (1950), 25-30 and in the new 1961 edition.
[242]. This is also missing from my 1936 Richardson book, but will be found in the article cited above and in the 1961 edition of the book.
[243]. See Wight, P. B., ‘Reminiscences of Russell Sturgis’, Architectural Record, XXVI (1909), 123-31. It is perhaps worth pointing out that Farnam Hall, together with Sturgis’s contiguous Battell Chapel of 1876 and his Durfee Hall at right angles to it, although neither are of at all comparable excellence, give this corner of the Old Campus at Yale a consistent High Victorian Gothic character interesting to study both in relation to the earlier Romantic Gothic of Henry Austin’s library (now Dwight Chapel) of 1842-4 on the other side of the campus and the ‘traditional’ Collegiate Gothic of James Gamble Rogers’s twentieth-century Harkness Quadrangle across High Street.
[244]. See Schuyler, M., ‘The Work of William Appleton Potter’, Architectural Record, XXVI (1909), 176-96.
[245]. See Holly, H. H., Church Architecture Illustrated, Hartford, 1871. Much more extreme models can be found in general compendia of architectural design published in the late sixties and early seventies.
[246]. See Campbell, W., ‘Frank Furness, an American Pioneer’, Architectural Review, CX (1951), 310-15.