[344]. See Hitchcock, H. R., ‘Frank Lloyd Wright and the “Academic Tradition” in the Nineties’, Journal of the Warburg and Courtauld Institutes, VII (1947), 46-63.
[345]. For an unsuspected but possible influence on Wright in this façade, see Gebhard, D., ‘A Note on the Chicago Fair of 1893 and Frank Lloyd Wright’, Journal of the Society of Architectural Historians, XVIII (1959), 63-5.
[346]. Japanese influence was more evident at the Chauncey L. Williams house at 520 Edgewood Place in River Forest, Ill., of 1895, notably in the use of rough boulders at the foot of the brick wall and flanking the entrance. Wright by this time was enthusiastically interested in Japanese prints; whether he also knew Morse’s book of 1886 (see Note 20 supra) is not clear.
[347]. This was very much extended, but along the original lines, in 1901, as shown on Plate 128B. The present River Forest Tennis Club, a much smaller structure, is not the same, though it bears some superficial resemblance to the Golf Club. The building of 1898-1901 was demolished in 1905.
[348]. I am grateful to John Brandon-Jones for allowing me to read the manuscript of his unpublished monograph on Voysey. Without his assistance of various sorts this account of Voysey could not have been written and illustrated.
[349]. See Note [[261]], Chapter [12].
[350]. The ‘House at Doverscourt for A. J. W. Ward’, published in the British Architect, 11 April 1890, was apparently never executed any more than those illustrated the previous year. It is very like Perrycroft, built in 1893, the first of Voysey’s important country houses, thus suggesting that on paper his style had in fact largely crystallized by this date before his Forster house was begun. It is of interest that the plan of the Ward project is more open than those of any of his executed houses; it may well have influenced Baillie Scott (see below).
[351]. Brandon-Jones suggests, however, that the very plain Regency villa in which Voysey was then living in St John’s Wood may have had some generic influence on the Forster house.
[352]. At Perrycroft the mullions are of wood, originally painted green. At the Forster house they were of stone, and that is true of almost all the later houses. So also the slates here were Welsh and grey; when he began to work in the Lake District he turned to green slates, earlier used by Godwin on Whistler’s house. These became standard on his later houses wherever they were built.
[353]. For a later tribute to his influence and that of Baillie Scott abroad, see Fisker, K., ‘Tre pionerer fra aarhundredskiftet’, Byggmästaren, 1947, 221-32; the third ‘pioneer’, rather surprisingly, is Tessenow (see Chapter [20]).