BIBLIOGRAPHY ADAM, The Architecture, Decoration and Furniture of R. & J. CARTWRIGHT, Beatrice d'Este. CELLINI, Autobiography. Translation by Symonds. DALY, CESAR, Les Styles Historiques. GоTCH, Early Renaissance in England. GOTCH and BROWN, Architecture of the Renaissance in England. GUADET, Elements et Théorie d'Architecture. GUERINET, L'Architecture Française. GUIZOT, History of Civilization in Europe. HEGEL, The Philosophy of History. HEWLETT, Little Novels of Italy.] LEE, VERNON, Euphorion. LETAROUILLY, Edifices de Rome Moderne. MOREL, Le Louvre et les Tuileries. MICHELET, Modern History. OLIPHANT, Makers of Florence OLIPHANT, Makers of Venice. PATER, WALTER, Studies in the Renaissance. PFNOR, L'Epoque Louis XVI. PRENTICE, Renaissance Architecture in Spain. SCOTT, The Architecture of Humanism. SISMONDI, History of the Italian Republics. STRACK, Architettura Toscana. SYMONDS, History of the Renaissance in Italy. TAINE, English Literature. TAINE, Philosophy of Art. VASARI, Lives of the Architects, Painters and Sculptors. WELLS, The Outline of History. CHAPTER IV MODERN ARCHITECTURE I. INTRODUCTION La terre ressemble à de grandes tablettes où chacun veut écrire son nom. Quand ces tablettes sont pleines, il faut bien effacer les noms qui y sont déjà écrits pour y en mettre de nouveaux. Que serait-ce si les monuments des anciens subsistaient? Les modernes n'auraient pas où placer les leurs. FONTENELLE, Dialogues des Morts. AFTER having followed the architecture of Antiquity, of the Middle Ages, of the Renaissance, and having thus come to the threshold of that nineteenth century, which is still so close to us, one may well feel a certain timidity in approaching Modern Architecture. May it not turn out, that the weight of the illustrious past will make what the present has to put in the balance against it, seem light and insignificant? One has the feeling, that to claim a place for our own works in this long line of masterpieces, legacy of those who have gone before us, is perhaps to overestimate our worth and to risk appearing presumptuous in the eyes of our children. It would appear that some such modesty has exercised a restraining influence on most of the authors of histories and manuals of architecture, for in nearly all such works the place given to modern art is rather inconspicuous. From which we may conclude, either that this art has been meager in production, or that the charity of the authors has led them to cover with silence the quality of this production. The tone of the few lines vouchsafed to contemporary work seems rather to confirm the latter hypothesis, so restrained is their enthusiasm. The mildest complaint they have to make against the nineteenth century represents it as having lived but by clothing itself in the cast-off garments of the past. Of its own, it had neither a decorative system peculiar to it, nor methods of construction really rich in possibilities, nor artists |