Footnote 205:
See Kreisel, H., _The Castles of Ludwig II of Bavaria_, Darmstadt
[n.d.] and _Schloss Linderhof_, Munich, 1959.
Footnote 206:
The design derives from the results of a competition held in 1876. Of
the nine architects involved in the execution of the building,
Grotjan, Lamprecht, Robertson, and Martin Haller (1835-1925) had won
prizes in the competition. The tower is attributed specifically to the
last and sometimes, more loosely, the whole structure.
Footnote 207:
It should be pointed out that tall mansards allowed the addition of a
full storey—sometimes even two—without increasing the height of the
masonry work of the façade itself; thus there were reasons of economy
as well as of fashion for their spread at this time (see Chapter 14).
Footnote 208:
For that matter the London Ritz Hotel, built in 1905-6 by Mewès &
Davis, is capped with a high mansard, although the vocabulary of their
façades is a discreet and academic, if overscaled, _style Louis XVI_
and the construction—reputedly—the first example of the use of a steel
skeleton of the American skyscraper type in England.
Footnote 209:
Thomas Cundy II (1790-1867) died in this year; if provided by the
Estate Architects’ office, the designs were either initiated before
his death or else they were entirely by his assistants, perhaps
directed by his surviving brother Joseph (1795-1875). A. T. Bolton
believed that the responsibility for the design lay with the builder
Trollope; the Grosvenor Estate office, however, names not Trollope but
the Cubitt firm as the builders. As with the Place de l’Opéra, the
credit—or discredit—for this most notable and conspicuous piece of
Second Empire urbanism remains rather uncertain.
Footnote 210:
See, however, Castermans, A., _Parallèle des maisons de Bruxelles_,
Paris, 1856, which illustrates much work that is not at all Parisian.
Footnote 211:
See Poelaert, J., _Le Nouveau Palais de Justice de Bruxelles_,
Brussels, 1904.
Footnote 212:
Semper was in England for several years after he left Dresden as a
result of the revolution that also led to Wagner’s expulsion in 1848.
He did no building in England, but was closely associated with Cole
and his Department of Practical Art. The catafalque of the Duke of
Wellington, used at the State funeral in 1852, was of his design. His
Swiss period was followed by a triumphant return to Dresden to rebuild
the opera-house there and his final settlement in Vienna in 1871.
Since this relatively important architect appears, like
Viollet-le-Duc, in unrelated contexts in several different chapters of
this book, it seems well to recall here the total range of his career
from its beginnings in Hamburg in the forties to its conclusion in
Vienna in the seventies, passing by Dresden, London, Zurich, and
Dresden a second time.
Footnote 213:
See Burnham, A., ‘The New York Architecture of Richard M. Hunt’,
_Journal of the Society of Architectural Historians_, XI (1952), 9-14.
Footnote 214:
Of course Daly’s _Revue de l’architecture_ reached some American
architects and also his _Architecture privée_ (see Note [194], Chapter
8). See also Liénard, M., _Specimens of the Decoration and
Ornamentation of the XIXth Century_, Boston, 1875, although by that
date the vogue for such Second Empire detailing was all but over.
Footnote 215:
See Walter, T. U., _Letter to the Committee on Public Buildings, in
reference to an Enlargement of the Capitol_ [Washington, 1850], and
_Report of the Architect of the United States Capitol and the New
Dome_, Washington, 1864.
Footnote 216:
See McKenna, R. T., ‘James Renwick, Jr, and the Second Empire Style in
the United States’, _Magazine of Art_, XLIV (1951), 97-101.
Footnote 217:
See Boston. Committee on Public Buildings, _The City Hall, Boston_,
Boston, 1866. A considerably larger early project of 1861 emulates
much more closely the new Louvre.
Footnote 218:
See Bunting, B., ‘The Plan of the Back Bay Area in Boston’, _Journal
of the Society of Architectural Historians_, XIII (1954), 19-24.
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