[257]. See Meeks, C. L. V., ‘Churches by Street on the Via Nazionale and the Via del Babuino’, Art Quarterly, XVI (1953), 215-27.
[258]. See Martinell, C., La Sagrada Familia, Barcelona, 1952, and Puig Boada, I., El Templo de la Sagrada Familia, Barcelona, 1952. A phenomenal number of articles have appeared concerning this church, all listed up to his date of publication (1952) by Ráfols in the later edition of his monograph on Gaudí.
[259]. Mixing the elements of several styles in individual buildings provided the liveliest aspect of eclecticism at this time; the mere use of alternative modes had chiefly the effect of blurring the edges of all the styles of the past.
[260]. Compare, for example, Sigfried Giedion’s presentation of the period in Space, Time, and Architecture.
CHAPTER 12 - Notes
[261]. Many serious and conscientious English students of this period would precede such a list with the name of George Devey (1820-86). Of Devey, in whose office C. F. A. Voysey, the most original English architect of the next generation, chose to work after completing his apprenticeship with Seddon, Voysey later wrote: ‘Providentially an invitation came to enter the Office of the most extensive practitioner in homes for the Nobility and Gentry. No domestic practice has equalled his in extent before or since his death.’ As in the case of William Burn, whose aristocratic practice of the forties and fifties Devey’s more than rivalled in the sixties and seventies, neither he nor his clients cared for publicity, and so none of his work was published, even to the slight extent that the work of Nesfield and Webb was illustrated in the professional journals. Still today his houses are known to posterity chiefly through a few articles: Godfrey, Walter ‘The Work of George Devey’, Architectural Review, XXI (1907), 23-30, 83-8, 293-306; and ‘George Devey, F.R.I.B.A., a Biographical Essay’, Journal of the Royal Institute of British Architects, XIII (1906), 501-25.
But just as the work of Nesfield and Webb was in actuality familiar from the first to their professional friends and rivals, as also to prospective country house clients, so was that of Devey. Many of the stylistic trends so vigorously exploited by Shaw in the seventies can be traced back to Devey’s houses of the preceding decade—or so such experts on the period as H. S. Goodhart-Rendel and John Brandon-Jones, who know Devey’s work intimately, always insist. Foreign students of this period, from Muthesius to the Editor of this series and this author, perhaps merely because of lack of direct or even adequate indirect knowledge of Devey’s houses, have never been ready to grant him so important a place in the story. Here particularly, where the story is told in an international context, the evident strength of the influence of Shaw’s work abroad even more than at home justifies giving his primacy and referring only incidentally to that of Devey.
[262]. Shaw did not immediately succeed Webb, since the latter stayed on in Street’s office until the middle of 1859. There must have been close contact between them over a period of up to a year, and they remained in touch from then on. Blomfield, Shaw’s biographer, being himself prejudiced against Webb, underestimates the reality and the importance of this relationship. It is only one of the many errors of fact or emphasis in his book.
To quote from a private communication from Brandon-Jones concerning Shaw and Webb: ‘Each must have had a good idea of the work the other was doing. Their two offices, in Gray’s Inn and Bloomsbury Square, were within a stone’s-throw of one another, and Lethaby while working for Shaw was in close touch with Webb and was in his spare time assisting him with the architectural work of Morris & Co. It is quite obvious from the dates of various executed works that Lethaby was carrying over Webb’s ideas and details and trying them out in work he was doing for Shaw. As for the mutual respect and friendship between Webb and Shaw, I [Brandon-Jones] have recently come across a letter written at the time of Shaw’s death in which he [Webb] pays a tribute to his “old friend”, and I have also seen a letter from Sydney Barnsley to Sydney Cockerell in which Barnsley says that he had called on Shaw only a few months before his death and that Shaw had been talking of Webb and saying that he still treasured some photographs given him by Webb nearly fifty years earlier.’