Neoclassical architecture

Lore & Background

Neoclassical architecture emerged as a reaction against the Rococo style and the excesses of Late Baroque. In many countries, an initial wave drew on Roman architecture, followed from about the start of the 19th century by a second wave of Greek Revival architecture, following increased understanding of Greek survivals. The style is defined by symmetry, simple geometry, and social demands instead of ornament, emphasizing the wall rather than chiaroscuro and maintaining separate identities for each part.

Reader's Guide

Neoclassical architecture is significant as a specific style and moment of the late 18th and early 19th centuries associated with the Enlightenment, empiricism, and early archaeological study. It influenced major buildings internationally, including the Altes Museum in Berlin, the Bank of England in London, and the White House and Capitol in Washington, D.C. As the 19th century continued, the style lost its original austere purity in variants like the French Empire style. In the 21st century, a version continues as New Classical architecture or New Classicism. The term is often used loosely for any building using some classical architectural vocabulary.

Did You Know?

• The shift to neoclassical architecture is conventionally dated to the 1750s.
• In the decorative arts, neoclassicism is exemplified in Wedgwood's bas reliefs and 'black basaltes' vases.
• The style was also adopted by progressive circles in Sweden and Russia.

Roots in the Italian Renaissance

The Palazzo style traces its lineage to the urban palaces that wealthy trading families commissioned across Italy beginning in the fifteenth century. Unlike the countryside villas that dot the Italian landscape, these palazzi were firmly embedded in city life, their ground floors frequently housing commercial activity while upper levels served as family residences. Although earlier examples existed during the Romanesque and Gothic eras, the mature form crystallized as merchant fortunes grew, producing landmarks such as Michelozzo's Palazzo Medici-Riccardi in Florence, the Palazzo Farnese in Rome (begun by Antonio da Sangallo the Younger and later finished by Michelangelo), and the Venetian canal-fronted Ca' Vendramin Calergi by Mauro Codussi and Ca' Grande by Jacopo Sansovino. When the style re-emerged as a conscious revival in the early sixteenth century, it joined a broader family of archaeological revivals alongside Neoclassicism and the Gothic Revival, all of which looked backward to earlier building traditions as a source of formal vocabulary.

The European Revival: Munich to London

Though Klenze was better known for Greek Neoclassical work, this building featured a rusticated half-basement, quoins, three tiers of windows with pedimented openings on the second floor, a prominent cornice, and a shallow columned portico, all rendered in stucco and painted to echo the Palazzo Farnese. His later masterpieces, Bridgewater House and Cliveden, extended the vocabulary into private residences, while the style simultaneously competed with the grander Classical Revival seen at the British Museum.

From Banks to Warehouses: Commercial Expansion

By the 1850s the Palazzo style had outgrown its original residential and club-house contexts and was being stretched across vast commercial and institutional facades. Back in Britain, the style was scaled up dramatically: J. T. From the 1870s onward, designers increasingly looked to Venetian rather than Florentine precedents, introducing arcaded loggias at street level, as in James Barnet's General Post Office in Sydney. Henry Hobson Richardson also employed the palazzo form, though he substituted Italian Romanesque detailing for the usual Renaissance vocabulary.

Evolution, Dilution, and Postmodern Resurgence

What unites nearly two centuries of Palazzo-style architecture is a relatively small set of formal traits: bilateral symmetry, a pronounced cornice, a raised basement level, and neatly aligned rows of windows. In the early nineteenth century, builders adhered closely to the scale and proportions of their Italian sources. By the latter part of that century, however, the style had been loosened considerably, applied to commercial structures many times the size of the original palazzi, and its decorative details were sometimes borrowed from Romanesque or even Gothic traditions rather than the Renaissance. In the twentieth century the palazzo became a largely superficial skin applied to multi-storey buildings, much as the Gothic Revival had been reduced to ornamental gesture. Yet the vocabulary never fully disappeared: in the late twentieth and early twenty-first centuries, Postmodern architects returned to palazzo forms for urban buildings, reviving the style's compositional logic in a new context. Nineteenth-century examples are sometimes labelled Italianate, though that term also covers a more heavily ornamented variant used for residences and public buildings.