[334]. By this time photo-lithographic processes made it possible for Shaw’s perspectives to appear in the Building News practically as facsimiles of his originals. Had it been necessary, as in the fifties and sixties, to ‘translate’ them into wood-engravings the transmission of the Shavian influence abroad would certainly have been much less effective.
[335]. See Note [[133]], Chapter [6]. The term ‘Eastlake’ is sometimes rather inaccurately used for the Stick Style.
[336]. See Wheeler, G., Rural Houses, New York, 1851, with later editions to 1868, and his Homes for the People in Suburb and Country, New York, 1855, with later editions to 1867.
[337]. See Gardner, E. C., Homes and How to Build Them, Boston, 1874, and also his Illustrated Homes, Boston, 1875.
[338]. See Woodward, G. E., Woodward’s Country Houses, New York, 1865; Woodward’s Architecture, Landscape Gardening and Rural Art, New York, 1867; Woodward’s Cottage and Farm Houses, New York, 1867; and Woodward’s National Architect, New York, 1868. Of Woodward’s Country Houses there were eight successive editions within a decade, thus rivalling in this period the popularity of Downing’s Cottage Residences in the forties and fifties; however, it is worth noting that the latter still remained in print.
[339]. See Sturges, W. K., ‘Long Shadow of Norman Shaw: Queen Anne Revival’, Journal of the Society of Architectural Historians, IX (1950), 21-5.
[340]. Scully in The Shingle Style provides evidence that the idea of a great hall was not unknown in America well before this. It may be unnecessary to suppose that Richardson knew of the Hinderton plan, since one or two comparable ones can be found in books appearing in America in the fifties; see, for example, the Nathan Reeve house in Newburgh, N.Y., published as ‘Design No. 22’ in Vaux, C., Villas and Cottages, New York, 1857. However that may be, the great hall theme was rarely exploited in Second Empire or Stick Style houses of the sixties. It makes a notable appearance or re-appearance, as the case may be, in Richardson’s planning just after 1870. See Notes VI-4 and VIII-2 in the 1961 edition of my Richardson book.
[341]. The term is Vincent Scully’s. Various themes touched on in this and succeeding paragraphs are discussed at length in his homonymous volume and provided there with a full roster of illustrations.
[342]. It is of interest that when the Monograph of the Work of McKim, Mead & White was prepared in 1915 almost all this early work was omitted. It has been rediscovered by critics and historians in the last thirty years, beginning with Mumford in the Brown Decades in 1931.
[343]. Just how the influence reached American architects so early is not altogether clear. The first treatise in English on Japanese architecture is Morse, E. S., Japanese Homes and Their Surroundings, Boston, 1886; new ed., New York, 1961. See Lancaster, C., ‘Japanese Buildings in the United States before 1900: Their Influence upon American Domestic Architecture’, Art Bulletin, XXXV (1953), 217-24.