Henry-Russell Hitchcock

“ The site of Brodrick’s Grand Hotel is a superb one on the edge of the Scarborough cliffs above the North Sea, as different as possible from the setting of the New Louvre. Its corner pavilions are capped, not with ordinary high mansards, but with curious roofs like pointed domes, richly crowned with elaborate cornices. In the intricacy of their silhouette these are not unworthy rivals of Barry’s Halifax tower. The massive walls are not of freestone in the manner of Paris nor yet of pallid Suffolk brick with light coloured stone or cement trim as in London. ”

“ Raised on a ridge above the southern shore of Lake Minnetonka, this house consists of a series of pavilions—some open, some closed—strung along a single axis parallel to the water’s edge. That containing the living room, which is of almost monumental size and scale, dominates the whole. Wright seemed able now to invent a new mode almost with every individual commission, each one with potentialities as great as those of the Prairie Houses he had so thoroughly exploited in the decade before 1910. ”

“ The north end of the building is a tall plain wall of rather small-scaled random ashlar broken only by a few strategically spotted windows of various shapes. At once medievally dramatic and quite abstract, this façade makes one appreciate all the more the almost classical serenity and horizontality of the main front. The Art School is clearly the manifesto of an architectural talent of broad range and great assurance—very different indeed from that of Voysey. ”

“ But the elegant underscaled local brick is handled with extraordinary virtuosity, and the façades achieve a stage-set-like unreality in sharpest contrast to the often dreary matter-of-factness of low-cost housing produced in other countries in these same years. Although the first Eigen Haard blocks were, in planning and general organization, as straightforward as Berlage’s, they have a warmer human touch such as architects elsewhere—Behrens, for example, or the Scandinavians—either missed entirely or attempted to attain by a parsimonious use of more or less ‘traditional’ detailing. ”

“ The long pre-eminence of Italy in the arts came to an end even before the end of the old regime. Architects still flocked there, finding in each generation new sources of inspiration as first Renaissance palaces and then medieval churches succeeded Roman ruins as the preferred quarry of travellers of taste. But not after Piranesi was there an Italian architect with real international influence. At the opening of the new century doctrine flowed from Paris, not from Rome; increasingly, moreover, architects turned to England and Germany for still fresher ideas and ideals. ”

“ Lacking the emotional drama of the Scandinavian churches of its period, St Jude’s has nevertheless a certain real boldness of silhouette, produced by rather eclectic means, and an elegance of craftsmanship in the brickwork that is in the finest tradition of the Gothic Revival. Yet, being by Lutyens, it is hardly at all medieval. The tall crossing tower may have slight suggestions of the Norman in its detailing and a cathedral-like scale, but in general the exterior is in a vaguely seventeenth-century vernacular descending from the later work of Shaw and Webb. ”

“ In the interior of St Finbar’s Burges developed the theme of articulation, a theme more characteristically Early English than ‘Early French’, with remarkable plastic vigour, while the handsome wooden roof, so rare a feature in medieval France, lends to the whole an unmistakably Victorian air. Less subtle, less aesthetic, than other churches of the sixties by younger men, St Finbar’s has the sort of athletic strength that is characteristic of much High Victorian Gothic, expressed in unusually literate, not to say archaeological, terms. ”

“ Yet in Garnier’s work, as in Lefuel’s, a generically Neo-Baroque effect is achieved with elements mostly High Renaissance in origin, but here Italian rather than French. The richly coloured marbles, the admirably placed sculpture by Carpeaux, and above all the fashion in which the masses pile up—from the ornate colonnade crowning the main façade, through the half-dome which expresses the auditorium externally, to the tall stage-house at the rear—is much richer plastically than the somewhat repetitive scheme of the New Louvre. ”

“ The skyscrapers of Sullivan and the early houses of Wright and Voysey—despite Voysey’s own disavowal of modernism—are among the first major manifestations of the period of architectural history that extends down to and includes our own time. The contemporaries of these men who were the new leaders on the Continent in the nineties had as sharp a sense of the novelty of the innovations they were making as did Sullivan or Wright, and the most characteristic stylistic formulation of this decade in Europe was appropriately known from an early date [356] as ‘Art Nouveau’. ”

“ Romantic Classicism came to no sudden end. If in Vienna a monumental Grecian Parliament house could rise as late as the seventies, so in the desert of Arizona the Crystal Palace Saloon of 1878 at Tombstone is still in the Greek Revival vernacular. From the very first, on the other hand, there was some admixture of the Picturesque in Romantic Classicism. Almost all the architects that have been mentioned, both of the earlier and of the later generation, were more eclectic in their practice and even in their theories than this account of their major works has made altogether evident. ”

“ If one must have originality, these hundred and fifty years have not lacked it, from Ledoux and Soane to Gaudí and Wright. Of the hundreds of names mentioned in these twenty-five chapters there are few doubtless equal to Bramante or to Bernini, but how many were there in the preceding hundred and fifty years? while the variety of approach represented, from a Schinkel to a Le Corbusier, from a Butterfield to a Mies, is hardly to be equalled in any comparable period of history. ”