CHAPTER 17 - Notes
[381]. See Malton, J., ‘Art Nouveau in Essex’, Architectural Review, CXXVI (1959), 100-4. For a considerably earlier and more extraordinary example of English work approaching the Art Nouveau, see Beazley, E., ‘Watts Chapel’, Architectural Review, CXXX (1961), 166-72. This chapel at Compton, Surrey, was designed in 1896 by Mary Watts, the widow of the painter G. F. Watts. The inspiration seems to have been predominantly Norse and Celtic.
[382]. See Gout, P., L’Architecture au XXe siècle et l’Art Nouveau, Paris, 1903.
[383]. See Hostingue, G. d’, Le Castel Béranger, œuvre de H. G., architecte, Paris, 1898.
[384]. Both the main façade and the principal interior are essentially the work of Deglane. Louvet and Thomas were more responsible for other elements of the complex structure.
[385]. See L’architecture moderne à Paris, concours de façades, 2 vols, Paris, 1901, 1902.
[386]. See Uhry, E., ‘Agrandissements des magasins de la Samaritaine’, L’Architecte, II (1907), 13-14, 20, plates X-XII.
[387]. I owe my knowledge of this remarkable façade to Martin Kermacy. He was unable to find out by whom and when it was built; it is very probably an early work of Josef Urban, Novotny informs me.
[388]. For another rather independent Scottish architect of this period, see Walker, D. M., ‘Lamond of Dundee’, Architectural Review, CXXIII (1958), 269-71.
[389]. See Scheichenbauer, M., Alfredo Campanini, Milan, 1958.