Castel Henriette

[3] The exterior combined elements with medieval resonance; however in the interior, as he had at Castel Béranger, he left riveted girders visible in ceilings.

In 1962 Robert Schmutzler, a specialist in the development of the style, found it "[reminiscent] of the medievalistic robber-baron castles of the prosperous upper bourgeoisie" and judged that it "[could] scarcely be said to represent Art Nouveau at its best".

[11] In 1972 Dennis Sharp, while echoing this assessment in calling it a "pastiche", wrote that it does exemplify the "allegiance to eccentric asymmmetrical design" introduced by Art Nouveau,[12] and in 1970 F. Lanier Graham saw it as representing "the highest flight of Guimard's architectural imagination", "a triumph of deliberate tensions", the first time he brought to architecture the "sense of spontaneous compression and release" he had previously developed in two dimensions.

[13] In 1978 it was similarly characterised as a "masterpiece" and the most explicit embodiment of the "underlying unease of Art Nouveau" and compared to "some inter-stellar object ... which appears to have landed on its site ... in a fortuitous way",[5] and in 2006 Laurence des Cars called it "the high-water mark of Guimard's lyrical and oneiric idiom".

[14] Georges Vigne wrote in 1985 that it was "no doubt neither more successful nor more beautiful" than other works from what he called "Guimard's all-out baroque period", but that the tower made it "something at once playful and conspicuously original".