See also:

• HENRY
• HENRY (1129-1195)
• HENRY (c. 1108-1139)
• HENRY (c. 1174–1216)
• HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
• HENRY, EDWARD LAMSON (1841– )
• HENRY, JAMES (1798-1876)
• HENRY, JOSEPH (1797-1878)
• HENRY, MATTHEW (1662-1714)
• HENRY, PATRICK (1736–1799)
• HENRY, PRINCE OF BATTENBERG (1858-1896)
• HENRY, ROBERT (1718-1790)
• HENRY, VICTOR (1850– )
• HENRY, WILLIAM (1795-1836)

HENRY HOBSON See also:

• RICHARDSON, GEORGE
• HENRY HOBSON RICHARDSON (1838-1886)
• RICHARDSON, SAMUEL (1689-1761)
• RICHARDSON, SIR JOHN (1787-1865)

RICHARDSON (1838-1886)  , See also:

• AMERICAN

American architect, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in the See also:

• PARISH (Gr. irapouda, district, neighbourhood; 7r&poucos, one dwelling near or beside, from crap&, OtKOS, house; Lat. paroecur, Late Lat. parochia; cf. Fr. paroisse)

parish of St See also:

• JAMES
• JAMES (Gr. 'IlrKw,l3or, the Heb. Ya`akob or Jacob)
• JAMES (JAMES FRANCIS EDWARD STUART) (1688-1766)
• JAMES, 2ND EARL OF DOUGLAS AND MAR(c. 1358–1388)
• JAMES, DAVID (1839-1893)
• JAMES, EPISTLE OF
• JAMES, GEORGE PAYNE RAINSFOP
• JAMES, HENRY (1843— )
• JAMES, JOHN ANGELL (1785-1859)
• JAMES, THOMAS (c. 1573–1629)
• JAMES, WILLIAM (1842–1910)
• JAMES, WILLIAM (d. 1827)

James, See also:

• LOUISIANA

Louisiana, on the 29th of See also:

• SEPTEMBER (Lat. septem, seven)

September 1838, of a See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich See also:

• FAMILY

family, his See also:

• MOTHER

mother being a granddaughter of the famous Dr See also:

• PRIESTLEY, JOSEPH (1733-1804)

Priestley, the See also:

• ENGLISH

English dissenting refugee and See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man of See also:

• SCIENCE (Lat. scientia, from scire; to learn, know)

science . He was graduated from Harvard University in 1859, and going immediately to See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris to study See also:

• ARCHITECTURE (Lat. architectura, from the Gr. ap)(LTEKrwv, a master-builder)

architecture, entered the 1 See also:

• COLE, SIR HENRY (1808–1882)
• COLE, THOMAS (1801–1848)
• COLE, TIMOTHY (1852– )
• COLE, VICAT (1833–1893)

cole See also:

• DES

des See also:

• BEAUX, CECILIA (1863– )

Beaux-Arts . The See also:

• CIVIL

Civil See also:

• WAR
• WAR (O. Eng. werre, Fr. guerre, of Teutonic origin; cf. O.H.G. werran, to confound)

War, which See also:

• BROKE, or BROOKE, ARTHUR (d. 1563)
• BROKE, SIR PHILIP BOWES VERE, BART

broke out in the See also:

• UNITED

United States while he was in the school, prevented his return to Louisiana, and stripped his family of their possessions, so that See also:

• RICHARDSON, GEORGE
• RICHARDSON, HENRY HOBSON (1838-1886)
• RICHARDSON, SAMUEL (1689-1761)
• RICHARDSON, SIR JOHN (1787-1865)

Richardson provided for his own support by working in the offices of practising architects in Paris, till the fall of 1865 . Coming back, he established himself in New See also:

• YORK
• YORK (HOUSE OF)
• YORK, EDMUND OF LANGLEY, DUKE OF (1341-1402)
• YORK, EDWARD
• YORK, FREDERICK AUGUSTUS, DUKE OF (1763-1827)
• YORK, RICHARD, DUKE

York, where he soon made his way into practice as an architect . In 1878 he moved to See also:

• BOSTON
• BOSTON, THOMAS (1676-1732)

Boston, where he passed the remaining years of his See also:

• LIFE

life, designing there most of the See also:

• WORK

work that made his reputation . He had married in 1867 See also:

• MISS

Miss Julia Gorham See also:

• HAYDEN, FERDINAND VANDEVEER (1829–1887)

Hayden of Boston; he died on the 27th of See also:

• APRIL

April 1886, not yet See also:

• FORTY

forty-eight years old . Richardson's career was See also:

• SHORT, FRANCIS JOB (1857– )

short, and the number of his See also:

• WORKS

works was small indeed compared with the See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention they attracted and the See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence he See also:

• LEFT

left behind him . The most important and characteristic are: Trinity See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church and the so-called Brattle Square church, in Boston; the alterations in the See also:

• STATE
• STATE, GREAT OFFICERS OF

State Capitol at See also:

• ALBANY
• ALBANY, DUKES OF
• ALBANY, LOUISE MAXIMILIENNE CAROLINE, COUNTESS OF (1752-1824)

Albany; the See also:

• COUNTY (through Norm. Fr. comae, cf. O. Fr. cunte, conk', Mod. Fr. comae, from Lat. comitatus, cf. Ital. comitato, Prov. comtat; see COUNT)

county buildings at See also:

• PITTSBURG
• PITTSBURG, or PITTSBURGH

Pittsburg; See also:

• TOWN

town halls at Albany, See also:

• SPRINGFIELD

Springfield and See also:

• NORTH
• NORTH, BARONS
• NORTH, MARIANNE (1830—1890)
• NORTH, ROGER (1653-1734)
• NORTH, SIR THOMAS (1535?-16o1?)

North See also:

• EASTON

Easton; town See also:

• LIBRARIES

libraries at See also:

• WOBURN

Woburn, North Easton, See also:

• QUINCY
• QUINCY, JOSIAH (1744–1775)

Quincy, See also:

• BURLINGTON

Burlington and See also:

• MALDEN

Malden; Sever See also:

• HALL
• HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
• HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
• HALL, BASIL (1788-1844)
• HALL, CARL CHRISTIAN (1812–1888)
• HALL, CHARLES FRANCIS (1821-1871)
• HALL, CHRISTOPHER NEWMAN (1816—19oz)
• HALL, EDWARD (c. 1498-1547)
• HALL, FITZEDWARD (1825-1901)
• HALL, ISAAC HOLLISTER (1837-1896)
• HALL, JAMES (1793–1868)
• HALL, JAMES (1811–1898)
• HALL, JOSEPH (1574-1656)
• HALL, MARSHALL (1790-1857)
• HALL, ROBERT (1764-1831)
• HALL, SAMUEL CARTER (5800-5889)
• HALL, SIR JAMES (1761-1832)
• HALL, WILLIAM EDWARD (1835-1894)

Hall and See also:

• AUSTIN
• AUSTIN, ALFRED
• AUSTIN, JOHN (179o-1859)
• AUSTIN, SARAH (1793-1867)
• AUSTIN, STEPHEN FULLER (1793-1836)

Austin Hall at Harvard University; the Chamber of See also:

• COMMERCE
• COMMERCE (Lat. commercium, from, cum, together, and rnerx, merchandise)

Commerce at See also:

• CINCINNATI

Cincinnati . Trinity church, the Pittsburg buildings and the Capitol at Albany were works of See also:

• GREAT

great importance, which have had a strong influence on men who followed him and brought him wide See also:

• ACKNOWLEDGMENT (from the old acknow, a compound of on- and know, to know by the senses, which passed through the forms oknow, aknow and acknow; acknowledge is formed on analogy of " knowledge ")

acknowledgment . It is notable that American architects who have studied in See also:

• EUROPE

Europe, especially in Paris, are See also:

• APT

apt to See also:

• DRIFT (from "drive ")

drift either into a pathless See also:

• ECLECTICISM (from Gr. fr)

eclecticism or into the English current . Richardson did neither . The, Romanesque that he saw in Europe, especially in the See also:

• MIDDLE

middle and See also:

• SOUTH
• SOUTH, ROBERT (1634–1716)

south of See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France, appealed so strongly to his sense for See also:

• MASS (O.E. maesse; Fr. messe; Ger. Messe; Ital. messa; from eccl. Lat. missa)
• MASS, IN

mass and broad picturesqueness that he soon followed its leading; away from the See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style he had learned in Paris .

His earliest work was See also:

• MODERN

modern See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French in style; his first church, in Springfield, a startlingly See also:

• INDEPENDENT

independent version of English See also:

• GOTHIC

Gothic . Yet See also:

• HALF

half a dozen buildings made the transition to that derivative of Romanesque to which afterwards in all his buildings he steadfastly adhered . In Trinity church, his first monumental work, perhaps his finest, he broke away absolutely from the prevailing English Gothic See also:

• FASHION (adapted from Fr. facon, agon, Lat. factio, making, facere, to do or make)

fashion . Instead of the ,.sng Latin See also:

• CROSS

cross with aisles and transepts, he made a wide cross almost See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek in See also:

• PLAN
• PLAN (from Lat. planes, flat)

plan, with short arms fifty feet broad and aisles that are only passages, a See also:

• NARTHEX (Gr. vapOr7E, the name of the plant giant=fennel, in Lat. ferula)

narthex flanked by two western towers, a See also:

• NAVE

nave of one See also:

• DOUBLE
• DOUBLE (from the Mid. Eng. duble, the form which gives the present pronunciation, through the Old Er. duble, from Lat. duplus, twice as much)

double See also:

• BAY

bay, an eastern See also:

• ARM (a common Teutonic word; the Indo-European root is ar, to join or fit; cf. the Lat. armus, shoulder, and the plural word arma, weapons, Gr. apphs, joint, and the reduplicated apapilKSV, to join)

arm prolonged into a .great See also:

• APSE
• APSE (Gr. alkir, a fastening, especially the felloe of a wheel; Lat. absis)

apse of the full width of the See also:

• CROSSING

crossing, over which sits a massive square See also:

• TOWER (Lat. turris; Fr. tour, clocker; Ital. torre; Ger. Thurm)

tower . The arms of the church are See also:

• BARREL (a word of uncertain origin common to Romance languages; the Celtic forms, as in the Gaelic baraill, are derived from the English)

barrel-vaulted in See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

wood; under the great tower is a See also:

• FLAT (a modification of O. Eng. flet, an obsolete word of Teutonic origin, meaning the ground beneath the feet)

flat coffered See also:

• CEILING (from a verb " to ceil," i.e. to line or cover; of disputed etymology, but apparently connected with Fr. ciel, Lat. caelum, sky)

ceiling a See also:

• HUNDRED

hundred feet above the See also:

• FLOOR (from O. Eng. flor, a word common to many Teutonic languages, cf. Dutch vloer, and Ger. Flur, a field, in the feminine, and a floor, masculine)

floor . The style, though mixed, shows his surrender to the attraction of the churches in See also:

• AUVERGNE

Auvergne, which have furnished the material for the See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design of the apse . The central tower is a See also:

• REMINISCENCE (from Lat. reminisci, to remember)

reminiscence of the See also:

• NOBLE, SIR ANDREW (1832- )

noble See also:

• LANTERN (an adaptation of the Fr. lanterne from Lat. lanterna or laterna, supposed to be from Gr. Aa urritp, a torch or lamp, Aaµaew, to shine, cf. " lamp "; the 16th- and 17th-century form " lanthorn " is due to a mistaken derivation from " horn," as a m

lantern of the old See also:

• CATHEDRAL

cathedral of See also:

• SALAMANCA
• SALAMANCA (anc. Salmantica or Elmantica)

Salamanca, but the square outline is insisted on instead of the polygonal, and the forms are in other ways much changed . The alteration of the Capitol at Albany, half a dozen years later, shared with See also:

• LEOPOLD (M.H. Ger. Liupolt; O.H. Ger. Liupald, from hut, Mod. Ger. Leute, " people," and paid, " bold," i.e. " bold for the people ")

Leopold Eidlitz, was a See also:

• COMPROMISE (pronounced compromize; through Fr. from Lat. compromittere)

compromise in style, and so lacks the sure handling of his best work, except in that See also:

• PART

part of the interior in which he was untrammelled, the See also:

• SENATE (Lat. senatus, from root sen-, as in senex, old; the root is the Sanskrit sana, cf. Gr. 'vos; the same element appears in senor, seigneur, seneschal)

Senate Chamber and the great See also:

• STAIRCASE

staircase . In the buildings at Pittsburg, on the other See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand, he was See also:

• FREE

free from interference, and these satisfied him more than any other of his buildings . His great design for the new cathedral at Albany, an See also:

• ADAPTATION (from Lat. adaptare. to fit to)

adaptation of the Romanesque forms of Auvergne to a large modern problem, would have displayed his mature manner, and been perhaps his greatest work; but the plan did not lend itself to the tradition or the See also:

• RITUAL (from Lat. ritus, a custom, especially a religious rite or custom)

ritual of the See also:

• ANGLICAN

Anglican Church, and it was rejected, to his great disappointment . At first the breadth of his compositions was offset by a richness of See also:

• ORNAMENT (Lat. ornare, to adorn)

ornament which he afterwards called flamboyant, but there was a continual growth in simplicity . Some of his imitators have abused his example, See also:

• RUNNING

running into See also:

• MERE
• MERE, ADALBERT (1838-1909)

mere baldness and brutality, but his own work never lost the fineness of quality with which he began, nor the adequacy of its detail .

Richardson's uncommon See also:

• PERSONALITY (from Lat. persona, originally an actor's mask, from personare,1 to sound through)

personality so embodied itself in his works that it cannot be overlooked . He had an inexhaustible See also:

• ENERGY (from the Gr. ivipyela; iv, in, ipyov, work)

energy of See also:

• BODY

body and mind, an See also:

• ENTHUSIASM

enthusiasm more genial than combative, but so abounding and at times vehement that few men and few bodies of men could resist him . Abounding energy he had, but not See also:

• HEALTH

health . A serious bodily injury, and later a chronic malady, made his last years a See also:

• CONSTANT, BENJAMIN (1845-1902)

constant struggle with suffering and infirmity, See also:

• BORNE, KARL LUDWIG (1786–1837)

borne with indomitable cheerfulness, but at last fatal . It is likely that the small number of his designs enhanced their quality . He put twice the labour into his work that the See also:

• AVERAGE

average architect would have given to it, and often twice the See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time, but the result was apt to be twice as See also:

• GOOD, JOHN MASON (1764-1827)

good . He found American architecture restless, incoherent and exuberant; his example did much to turn it back to simplicity and repose . He came as near to establishing a style as it is given to any one man to come; but the tendency of the time was too strong, and the classic styles, reasserting themselves, once more drove out the See also:

• MEDIEVAL

medieval . The best known See also:

• BOOK

book about Richardson is Mrs See also:

• SCHUYLER, PHILIP JOHN (1733–1804)

Schuyler See also:

• VAN

van See also:

• RENSSELAER

Rensselaer's H . H . Richardson and his Works (Boston, 1888) . (W .

P . P .