[354]. For a remarkable later work of Lethaby, see Pevsner, N., ‘Lethaby’s Last’, Architectural Review, CXXX (1961), 354-7. This church, at Brockhampton-by-Ross in Herefordshire, was roofed with pre-cast concrete slabs at the surprisingly early date of 1900-2; and its simplified, rather angular, Gothic design is, in effect, already proto-Expressionist.
[355]. See Pevsner, N., ‘George Walton, His Life and Work’, Journal of the Royal Institute of British Architects, XLVI (1939), 537-48.
[356]. Voysey was also a notable designer of wallpapers and chintzes, perhaps the most notable of his generation in England.
CHAPTER 16 - Notes
[357]. See Madsen’s Sources of Art Nouveau, 75-83.
[358]. See Schmutzler, R., ‘English Origins of the Art Nouveau’, Architectural Review, CXVII (1955), 108-16. The question is discussed further at a later point in this chapter (pp. 284-5).
[359]. See Note [[149]], Chapter [7].
[360]. The one large structure built for this exhibition in permanent form, the Palais du Trocadéro by Davioud, has since been replaced. Vaguely Saracenic in design, yet not altogether unworthy in silhouette of its splendid site on the Chaillot heights, this shared none of the qualities of Eiffel’s temporary pavilion. See Davioud, G., Le Palais du Trocadéro, Paris, 1878. As long as it lasted, however, the Trocadéro provided a sort of pendant on this side of Paris to Abadie’s Sacré-Cœur atop Montmartre, begun in the same rather dreary decade of French architectural production.