[362]. See Alphand, A., L’Exposition universelle de Paris de 1889, Paris, 1892.
[363]. See Eiffel, G., La Tour de trois-cents-mètres, Paris, 1900.
[364]. Bogardus’s shot-towers of the fifties in New York, which were of essentially similar construction, received little contemporary or later publicity. It is still uncertain whether Jenney knew of them when he built the Home Insurance Building in Chicago in 1883-5. See T. C. Bannister, ‘Bogardus Revisited, Part II’, Journal of the Society of Architectural Historians, XVI (1957).
[365]. See Note [[253]], Chapter [11].
[366]. See Grady, J., ‘Bibliography of the Art Nouveau’, Journal of the Society of Architectural Historians, XIV (1955), 18-27 and Art Nouveau (Museum of Modern Art Exhibition Catalogue), New York [1960].
[367]. This applies particularly to Art Nouveau decoration; the major architectural works were frequently very plastically organized, although most of the detail was linear.
[368]. See Schmutzler, R., ‘Blake and the Art Nouveau’, Architectural Review, CXVIII (1955), 90-7.
[369]. See Lancaster, C., ‘Oriental Contributions to Art Nouveau’, Art Bulletin, XXXIV (1952), 297-310.
[370]. See Grady, J., ‘Nature and the Art Nouveau’, Art Bulletin, XXXVII (1955), 187-92.
[371]. See Mackmurdo, A. H., Wren’s City Churches, Orpington, 1883.