Footnote 38:
Allais and others, _Projets d’architecture ... qui ont mérités les
grands prix_, Paris, 1806, and at different dates subsequently with
varying authors and titles. For a collection of earlier projects, see
Rosenau, H., ‘The Engravings of the Grand Prix of the French Academy
of Architecture’, _Architectural History_, III (1960), 17-180, since
the original publication is very rare.
Footnote 39:
Durand was already well known as the compiler of the _Recueil et
parallèle des édifices en tout genre, anciens et modernes_, Paris,
1800, a curious work in which the drawings of important buildings of
all periods are freely modified to bring them into conformity with the
author’s modular theories of proportion. This is conventionally known
as ‘Le grand Durand’.
Footnote 40:
Rondelet, J. B., _Traité théorique et pratique de l’art de bâtir_, 4
vols, Paris, 1802-17. There were several later editions. From 1806
Rondelet taught at the École Spéciale d’Architecture, which was
shortly afterwards merged with the École Polytechnique.
Footnote 41:
French designs of this period for houses were provided in profusion in
the publications of J. C. Krafft. See Krafft, J. C., and Ransonette,
N., _Plans, coupes, élévations des plus belles maisons et des hôtels
construits à Paris et dans les environs_, Paris [_c._ 1802]; reprint,
Paris, 1909; and Krafft, J. C., _Recueil d’architecture civile_,
Paris, 1812; later ed., 1829. Krafft, J. C., and Thiollet, F., _Choix
des plus jolies maisons de Paris et de ses environs, édifices et
monuments publics_, Paris, 1849, may also be mentioned here although
very much later. It is significant of the international availability
of the earliest work listed here that it was provided with texts in
French, English, and German.
Footnote 42:
Klenze, L. von, _Walhalla in artistischer und technischer Beziehung_,
Munich, 1842.
Footnote 43:
See Hitchcock, H.-R., _Early Museum Architecture_, Hartford, 1934.
Footnote 44:
Grandjean de Montigny, A.-H.-V., and Famin, A.-P.-Ste-M.,
_Architecture toscane_, Paris, 1815.
Footnote 45:
See Klenze, L. von, _Anweisung der Architektur des christlichen
Kultus_, Munich, 1834.
Footnote 46:
See Möllinger, K., _Elemente des Rundbogenstiles_, 2nd ed., Munich,
1848. It is convenient to retain the German term for this very
Germanic round-arched style, even though it flourished in several
countries besides Germany (see below in this chapter for Scandinavia,
and Chapter 5 for America).
Footnote 47:
See Hübsch, H., _Die altchristlichen Kirchen nach den Baudenkmalen und
älteren Beschreibungen_, 2 vols, Karlsruhe, 1862-3.
Footnote 48:
Durand, _Précis_, II, plate 13.
Footnote 49:
See Häberlin, C. L., _Sanssouci, Potsdam und Umgebung_, Berlin and
Potsdam, 1855; Poensgen, G., _Die Bauten Friedrich Wilhelms IV in
Potsdam_, Potsdam, 1930; Huth, H., _Der Park von Sanssouci_, Berlin,
1929; Kania, H., _Potsdamer Baukunst_, Berlin, 1926; _Potsdam. Staats-
und Bürgerbauten_, Berlin, 1939; and Hitchcock, H.-R., ‘Romantic
Architecture of Potsdam’, _International Studio_, 99 (1931), 46-9.
Footnote 50:
See Sievers, J., _Das Palais des Prinzen Karl von Preussen_, Berlin,
1928.
Footnote 51:
Notably Séheult, F.-L., _Recueil d’architecture dessiné et mesuré en
Italie ... dans 1791-93_, Paris, 1821.
Footnote 52:
See Persius, L., _Architektonische Entwürfe für den Umbau vorhandener
Gebäude_, Potsdam, 1849; _Architektonische Ausführungen_, Berlin
[1860?]; and Fleetwood Hesketh, R. and P., ‘Ludwig Persius of
Potsdam’, _Architects Journal_, LXVIII (1928), 77-87, 113-20.
Footnote 53:
Ettlinger, L., ‘A German Architect’s Visit to England in 1826’,
_Architectural Review_, XCVII (1945), 131-4.
Footnote 54:
See Poensgen, G., _Schloss Babelsberg_, Berlin, 1929.
Footnote 55:
See Frölich, M., and Sperlich, H. G., _Georg Moller, Baumeister der
Romantik_, Darmstadt, 1959.
Footnote 56:
See Semper, G., _Das königliche Hoftheater zu Dresden_, Brunswick,
1849.
Footnote 57:
Gärtner’s design for the Palace owes a good deal to a project prepared
by Klenze for a palace on the Kerameikos hill which was never begun.
Fortunately Schinkel’s more ambitious project for a palace on the
Akropolis was also not carried out.
The digging away of the ground, which originally sloped up to the
Palace above the square, and the introduction in the 1930s of the
present retaining wall with the Tomb of the Unknown Soldier have
diminished somewhat the effectiveness of the front of the Palace.
Footnote 58:
See Amodeo, A., ‘La Giovinezza di Pietro Nobile’, ‘La Maturità di
Pietro Nobile’, _L’Architettura_, I (1955), 49-52; 378-84.
Footnote 59:
See _Thorvaldsens Museum_, Copenhagen, 1953.
Footnote 60:
See Hekker, H. C., ‘De Nederlandse Bouwkunst in het Begin van de
Negentiende Eeuw’, _Bulletin van de Kon. Ned. Oudh. Bond_, IV (1951),
1-28.
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