| Fig. 109.—Plan of Hôtel de Ville, Paris. | ||
| A, Salle des Fêtes. | F, Salle des Cariatides. | M, Corridor. |
| B, Salle à manger. | G, General Secretary. | N, President of Council. |
| C, Salons de Réception. | H, Prefect. | O, Library. |
| D, Council Chamber. | K, Committee Rooms. | P, Refreshment Room. |
| E, Grand Staircase. | L, Public Works. | |
At the beginning of the last quarter of the 19th century stands one of the most important of modern French buildings, the Paris hôtel de ville, commenced shortly after the war, from the designs of MM. Ballu and Deperthes, planned on an immense scale, and on the stateliest and most monumental lines: the plan is given in fig. 109. The central block is, externally, a restoration of the old hôtel de ville, the remainder carried out in an analogous but somewhat more modern style. The interior has been the scene of sumptuous pictorial decoration, in which all the first artists of the day were employed—unfortunately in too scattered a manner and on no predominant or consistent scheme. One of the most characteristic architectural efforts of the French has consisted in the erection of the various smaller hôtels-de-ville or mairies, in the city and suburban districts of the capital; as at Pantin, Lilas, Suresnes and in various arrondissements within the city proper (Plate XIII., fig. 127). Nothing shows the quality of modern French architecture better, or perhaps more favourably, than this series of district town halls; all have a distinctly municipal character and a certain family resemblance of style amid their diversity of details; all are refined specimens of pre-eminently civilized architecture. Among the greater architectural efforts of France is the immense block of the new Sorbonne, by M. Nénot, a building sufficient in itself for an architectural reputation. Among smaller French buildings of peculiar merit may be mentioned the Musée Galliera, in the Trocadéro quarter of Paris, designed by M. Ginain—a work of pure art in architecture such as we should nowadays look for in vain out of France; the École de Médecine, by the same refined architect (fig. 110); and the chapel in rue Jean Goujon (Guilbert), erected as a memorial to the victims of the bazaar fire, again a notable instance of a work of pure thought in architecture—a new conception out of old materials. The new Opéra Comique (Bernier) should also be mentioned, the rather disappointing result of a competition which excited great interest at the time. Street architecture has been carried out of late in Paris in a sumptuous style, with great stone fronts and a profusion of carved ornament, such as we know nothing of in England; and though there is a rather monotonous repetition of the same style and character throughout the new or newly built streets, it is impossible to deny the effect of palatial dignity they impart to the city. In the matter of country houses the French architect is less fortunate; when he attempts what he regards as the rural picturesque, his good taste seems entirely to desert him, and the maison de campagne is generally a mere riot of gimcrack bargeboards and finials. In Paris, the taste for the contortions of what is called art nouveau has led to the erection, here and there, of ugly and eccentric fronts with preposterous ornamental details; but the invasion of this element is only partial and will probably not prove other than a passing phase.
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| Fig. 110.—École de Médecine, Paris. (Ginain.) |
The great military success of Germany in 1870, and the founding of the German empire, gave, as is usual in such crises, a decided impetus to public architecture, of which the central and most important visible sign is the German Houses of Parliament (Plate IX., fig. 117), by Paul Wallot Germany.(b. 1841), whose design was selected in a competition. There is something essentially German in the quality of this national building; classic architecture minus its refinement. The detail is coarse; the finish of the end pavilions of the principal front absolutely unmeaning—mere architectural rodomontade; the central cupola of glass and iron, on a square plan, probably the ugliest central feature on any great building in Europe; and yet there is undeniable power about the whole thing; it is the characteristic product of a conquering nation not reticent in its triumph. The new cathedral at Berlin, by Julius Raschdorff (b. 1823), is the other most important German work of the period (fig. 111); a building very striking and unusual in plan, but absolutely commonplace in its architectural detail; school classic of the most ordinary type, without even any of those elements of originality which are to be found in the Houses of Parliament. A curious feature in the plan (fig. 112) is that the building, alone of any cathedral we can recall, has its principal general entrance at the side, the end entrance being reserved for a special imperial cortège on special occasions, the cathedral also serving the second purpose of an imperial mausoleum. Theatre building has been carried on very largely in Germany, and among its productions the Lessing theatre at Berlin (fig. 113) (Hermann von der Hude and Julius Hennicke, d. 1892) is a favourable example of German
