View source for Greek Revival architecture

{{Short description|Architectural movement of the late 18th and early 19th centuries}}
[[File:Berlin - 0266 - 16052015 - Brandenburger Tor.jpg|thumb|[[Brandenburg Gate]] in [[Berlin]], 1791]]
[[File:NGrange1No5-2426 (cropped).jpg|thumb|[[Northington Grange]], an English banker's house built between 1804 and 1817]]
[[File:Yorkshire Museum.jpg|thumb|[[Yorkshire Museum]] in [[York]], England, designed by [[William Wilkins (architect)|William Wilkins]], 1830]]
'''Greek Revival architecture''' is a [[architectural style|style]] that began in the middle of the 18th century but which particularly flourished in the late 18th and early 19th centuries, predominantly in [[northern Europe]], the United States, and Canada, and Greece following that nation's independence in 1821. It revived many aspects of the forms and styles of [[ancient Greek architecture]], including the [[Greek temple]]. A product of [[Hellenism (neoclassicism)|Hellenism]], Greek Revival architecture is looked upon as the last phase in the development of [[Neoclassical architecture]], which was drawn from [[Roman architecture]]. The term was first used by [[Charles Robert Cockerell]] in a lecture he gave as an architecture professor at the [[Royal Academy of Arts]] in [[London]] in 1842.<ref>J. Turner (ed.), ''Encyclopedia of American art before 1914'', New York, p. <span class="plainlinks">[https://books.google.com/books?id=R1QYAAAAIAAJ&q=%22Cockerell+used+the+term+%27Greek+revival%27+at+least+as+early+as+1842%22 198].</span>.</ref>

With newfound access to Greece and Turkey, or initially to the books produced by the few who had visited the sites, archaeologist–architects of the period studied the [[Doric order|Doric]] and [[Ionic order|Ionic]] orders. Despite its universality rooted in ancient Greece, the Greek Revival idiom was considered an expression of local nationalism and civic virtue in each country that adopted it, and freedom from the lax detail and frivolity that then characterized the architecture of France and Italy, two countries where the style never really took architecturally. Greek Revival architecture was embraced in Great Britain, Germany, and the United States, where the idiom was regarded as being free from ecclesiastical and aristocratic associations and was appealed to each country's emerging embrace of [[classical liberalism]]. 
[[File:150214 Neue Wache Berlin.jpg|thumb|[[Neue Wache]] in Berlin, 1818]]
[[File:Propyläen - München.jpg|thumb|[[Leo von Klenze]]'s [[Propylaea (Munich)|Propylaea]] in [[Munich]], 1862]]

The taste for all things Greek in furniture and interior design, sometimes called [[Neo-Grec]], reached its peak in the beginning of the 19th century when the designs of [[Thomas Hope (1769–1831)|Thomas Hope]] influenced a number of decorative styles known variously as Neoclassical, [[Empire style|Empire]], Russian Empire, and [[Regency architecture]] in Great Britain. Greek Revival architecture took a different course in a number of countries, lasting until the 1860s and the [[American Civil War]] and later in Scotland.

[[File:Hamilton high school.jpg|thumb|[[Thomas Hamilton (architect)|Thomas Hamilton]]'s design for [[Royal High School (Edinburgh)|Royal High School]] in [[Edinburgh]], completed in 1829]]

Modern-day architects are recreating this design by building houses similar to the Greek Revival.{{Where|date=December 2024}} These houses are characterized by their symmetrical and balanced proportions, typically featuring a bold, pedimented portico with arched openings. The symmetrical façade is divided into two equal halves.

==General characteristics==
Much Greek Revival architecture used the Greek [[Doric order]] in the earlier version found in buildings leading up to the [[Parthenon]] in Athens. This contrasted significantly with later Greek [[Hellenistic architecture]] and [[Roman architecture]].  Greek Doric columns are typically rather thick, often tapering towards the top, always [[fluting (architecture)|fluted]], and have complicated rules for the [[entablature]] above the columns. Additionally, the columns go straight down to the floor ([[stylobate]]) with no distinct base - this last aspect was often skipped by architects who followed the other Greek conventions, for example in the [[Brandenburg Gate]].

The understanding of actual Greek architecture was based on ruined buildings, and awareness of the full range of ornamentation, and colour, on ancient Greek temples emerged over the period. Architects were aware of the large [[pedimental sculpture]]s and [[metope]] reliefs, and copied these expensive elements when funds allowed, but far less often had the full range of [[antefix]]es and [[akroterion]]s.

Greek temples normally had no windows except perhaps in the roof, posing a problem for modern buildings for most purposes, which was generally brushed aside. Many buildings that needed to fulfill modern functions concentrated on having an impressive temple-style front, giving the other faces of the building a more practical design up to the [[cornice]].

==Europe==
===Germany and France===
[[File:2016 - Regensburg (28223191375).jpg|thumb|[[Leo von Klenze]]'s [[Walhalla (memorial)|Walhalla]] in [[Regensburg]], [[Bavaria]] (1842)]]
In Germany, Greek Revival architecture is predominantly found in two centres, Berlin and [[Munich]]. In both locales, Doric was the court style rather than a popular movement and was heavily patronised by [[Frederick William II of Prussia]] and [[Ludwig I of Bavaria]] as the expression of their desires for their respective seats to become the capital of Germany. The earliest Greek building was the [[Brandenburg Gate]] (1788–91) by [[Carl Gotthard Langhans]], who modelled it loosely on the [[Propylaia (Acropolis of Athens)|Propylaea in Athens]]. Ten years after the death of [[Frederick the Great]], the {{lang|de|Berlin Akademie}} initiated a competition for a monument to the King that would promote "morality and patriotism."

[[Friedrich Gilly]]'s unexecuted design for a temple raised above the [[Leipziger Platz]] caught the tenor of high idealism that the Germans sought in Greek architecture and was enormously influential on [[Karl Friedrich Schinkel]] and [[Leo von Klenze]]. Schinkel was in a position to stamp his mark on Berlin after the catastrophe of the French occupation ended in 1813; his work on what is now the [[Altes Museum]], [[Konzerthaus Berlin]], and the [[Neue Wache]] transformed that city. Similarly, in Munich von Klenze's [[Glyptothek]] and [[Walhalla memorial]] were the fulfilment of Gilly's vision of an orderly and moral German world.  The purity and seriousness of the style was intended as an assertion of [[German nationalism|German national values]] and partly intended as a deliberate riposte to France, where it never really caught on.

By comparison, Greek Revival architecture in France was never popular with either the state or the public. What little there is started with [[Charles de Wailly]]'s crypt in [[Saint-Leu-Saint-Gilles de Paris]] (1773–80), and [[Claude Nicolas Ledoux]]'s Barriere des Bonshommes (1785–89). First-hand evidence of Greek architecture was of very little importance to the French, due to the influence of [[Marc-Antoine Laugier]]'s doctrines that sought to discern the principles of the Greeks instead of their mere practices. It would take until [[Henri Labrouste]]'s [[Neo-Grec]] of the [[Second French Empire|Second Empire]] for Greek Revival architecture to flower briefly in France.

===Great Britain===
[[File:British Museum from NE 2.JPG|thumb|Façade of the [[British Museum]] in [[London]]]]
Following the travels to Greece, [[Nicholas Revett]], a Suffolk architect, and the better remembered [[James "Athenian" Stuart]] in the early 1750s, intellectual curiosity quickly led to a desire among the elite to emulate the style. Stuart was commissioned after his return from Greece by [[George Lyttelton, 1st Baron Lyttelton|George Lyttelton]] to produce the first Greek building in England, the garden temple at [[Hagley Hall]] (1758–59).<ref>But [[Giles Worsley]] detects the first Grecian-influenced architectural element in the windows of [[Nuneham House]] from 1756; see [[Giles Worsley]], "The First Greek Revival Architecture", ''The Burlington Magazine'', Vol. 127, No. 985 (April 1985), pp. 226–229.</ref> A number of British architects in the second half of the century took up the expressive challenge of the Doric from their aristocratic patrons, including [[Benjamin Henry Latrobe]] (notably at [[Hammerwood Park]] and [[Ashdown House, East Sussex|Ashdown House]]) and Sir [[John Soane]], but it remained the private enthusiasm of connoisseurs up to the first decade of the 19th century.

An early example of Greek Doric architecture married with a more [[Palladian architecture|Palladian]] interior, is the façade of the Revett-designed rural church of [[Ayot St Lawrence]] in Hertfordshire, commissioned in 1775 by [[Sir Lyonel Lyde, 1st Baronet]] of the eponymous manor. The Doric columns of this church, with their "pie-crust crimped" details, are taken from drawings that Revett made of the [[Temple of the Delians|Temple of Apollo]] on the Cycladic island of [[Delos]], in the collection of books that he (and Stuart in some cases) produced, largely funded by special subscription by the [[Society of Dilettanti]]. See more in [[Terry Friedman]]'s book ''The Georgian Parish Church'', Spire Books, 2004.

Seen in its wider social context, Greek Revival architecture sounded a new note of sobriety and restraint in public buildings in Britain around 1800 as an assertion of [[nationalism]] attendant on the [[Act of Union 1800|Act of Union]], the [[Napoleonic Wars]], and the clamour for political reform. [[William Wilkins (architect)|William Wilkins]]'s winning design for the public competition for [[Downing College, Cambridge]] announced the Greek style was to become a dominant idiom in architecture, especially for public buildings of this sort. Wilkins and [[Robert Smirke (architect)|Robert Smirke]] went on to build some of the most important buildings of the era, including the [[Royal Opera House|Theatre Royal]], [[Covent Garden]] (1808–1809), the [[General Post Office, London|General Post Office]] (1824–1829) and the [[British Museum]] (1823–1848), the Wilkins Building of [[University College London]] (1826–1830), and the [[National Gallery]] (1832–1838).

One of the greatest British proponents of the style was [[Decimus Burton]].

In [[London]], twenty three Greek Revival [[Commissioners' church]]es were built between 1817 and 1829, the most notable being [[St Pancras New Church|St.Pancras church]] by [[William Inwood|William]] and [[Henry William Inwood]]. In Scotland the style was avidly adopted by [[William Henry Playfair]], [[Thomas Hamilton (architect)|Thomas Hamilton]] and [[Charles Robert Cockerell]], who severally and jointly contributed to the massive expansion of [[Edinburgh]]'s [[New Town, Edinburgh|New Town]], including the [[Calton Hill]] development and the [[Moray Estate]]. Such was the popularity of the Doric in Edinburgh that the city now enjoys a striking visual uniformity, and as such is sometimes whimsically referred to as "the Athens of the North".

Within [[Regency architecture]] the style already competed with [[Gothic Revival]] and the continuation of the less stringent Palladian and Neoclassical styles of [[Georgian architecture]], the other two remaining more common for houses, both in towns and [[English country house]]s. If it is tempting to see the Greek Revival as the expression of Regency authoritarianism, then the changing conditions of life in Britain made Doric the loser of the [[Battle of the Styles]], dramatically symbolized by the selection of [[Charles Barry]]'s Gothic design for the [[Palace of Westminster]] in 1836. Nevertheless, Greek continued to be in favour in Scotland well into the 1870s in the singular figure of [[Alexander Thomson]], known as Greek Thomson.

===Greece===
[[File:Attica 06-13 Athens 28 Academy of Athens.jpg|right|thumb|The main building of the [[Academy of Athens (modern)|Academy of Athens]], one of [[Theophil Hansen]]'s trilogy of Greek Revival structures in central [[Athens]]]]
Following the [[Greek War of Independence]], [[Romantic Nationalism|Romantic Nationalist]] ideology encouraged the use of historically Greek architectural styles in place of [[Ottoman architecture|Ottoman]] or pan-European ones. Classical architecture was used for secular public buildings, while [[Byzantine architecture]] was preferred for churches.

Examples of Greek Revival architecture in Greece include the [[Old Royal Palace]] (now the home of the [[Parliament of Greece]]), the [[Academy of Athens (modern)|Academy]] and [[University of Athens]], the [[Zappeion]], and the [[National Library of Greece]]. The most prominent architects in this style were northern Europeans such as [[Christian Hansen (architect)|Christian]] and [[Theophil Hansen]] and [[Ernst Ziller]] and German-trained Greeks such as [[Stamatios Kleanthis]] and [[Panagis Kalkos]].
Despite the prestige of [[ancient Greece]] among Europe's educated elite, most people had minimal direct knowledge of the ancient Greek civilization before the middle of the 18th century. The monuments of Greek antiquity were known chiefly from [[Pausanias (geographer)|Pausanias]] and other literary sources. Visiting [[Ottoman Greece]] was difficult and dangerous business prior to the period of stagnation beginning with the [[Great Turkish War]]. Few tourists visited [[Athens]] during the first half of the 18th century, and none made any significant study of the architectural ruins.<ref>{{Harvnb|Crook|1972|pp=1–6}}</ref>

It was not until the expedition to Greece funded by the [[Society of Dilettanti]] of 1751 by [[James "Athenian" Stuart]] and [[Nicholas Revett]] that serious archaeological inquiry began in earnest. Stuart and Revett's findings, published in 1762 (first volume) as ''The Antiquities of Athens'',<ref>[https://www.britishmuseum.org/explore/highlights/highlight_objects/pd/j/james_stuart_and_nicholas_reve.aspx "The Antiquities of Athens"], British Museum</ref> along with Julien-David Le Roy's ''{{lang|fr|Ruines des plus beaux monuments de la Grèce}}'' (1758) were the first accurate surveys of ancient Greek architecture.<ref>{{Harvnb|Crook|1972|pp=13–18}}.</ref>

The rediscovery of the three relatively easily accessible Greek temples at [[Paestum]] in [[Southern Italy]] created huge interest throughout Europe, and prints by [[Giovanni Battista Piranesi]] and others were widely circulated. The [[Napoleonic Wars]] denied access to France and Italy to traditional Grand Tourists, especially from Britain. Aided by close diplomatic relations between Britain and the [[Sublime Porte|Porte]], British travellers, artists and architects went to Greece and Turkey in ever larger numbers to study ancient Greek monuments and excavate or collect antiquities. The Greek War of Independence ended in 1832; [[Lord Byron]]'s participation and death during this had brought it additional prominence.

===Russia===
[[File:Spb 06-2017 img04 Spit of Vasilievsky Island.jpg|thumb|[[Saint Petersburg Bourse]], part of the [[Old Saint Petersburg Stock Exchange and Rostral Columns]] in [[Saint Petersburg]], Russia]]
The style was attractive in [[Russian Empire|Russia]] because they shared the [[Eastern Orthodox]] faith with the Greeks. The historic centre of [[Saint Petersburg]] was rebuilt by [[Alexander I of Russia]], with many buildings giving the Greek Revival a Russian debut. The [[Saint Petersburg Bourse]] on [[Vasilievsky Island]] has a temple front with 44 Doric columns. [[Giacomo Quarenghi]]'s design for the [[Saint Petersburg Manege]] "mimics a [[Parthenon|5th-century BC Athenian temple]] with a [[portico]] of eight [[Doric column]]s bearing a [[pediment]] and bas reliefs".<ref name="google">{{cite book|title=The Companion Guide to St Petersburg|author1=FitzLyon, K.|author2=Zinovieff, K.|author3=Hughes, J.|date=2003|publisher=Companion Guides|isbn=9781900639408|url=https://books.google.com/books?id=u8D75IzFL4YC&pg=PA78|page=78|access-date=2015-06-24}}</ref>

[[Leo von Klenze]]'s expansion of the palace that is now the [[Hermitage Museum]] is another example of the style.

===Turkey===
[[File:Istanbularcheology.jpg|thumb|The [[Istanbul Archaeology Museums]] in [[Istanbul]], Turkey]]
During the late period of the Ottoman Empire, Greek Revival architecture had its examples in the empire. The prominent examples are [[Istanbul Archaeology Museums]] (1891)

===Rest of Europe===
[[File:20140724 Parlamentsgebäude (Wien).jpg|thumb|The [[Austrian Parliament Building]] in [[Vienna]]]]
The style was generally popular in northern Europe, and not in the south (except for Greece itself), at least during the main period. Examples can be found in Poland, Lithuania, and Finland, where the assembly of Greek buildings in [[Helsinki]] city centre is particularly notable. At the cultural edges of Europe, in the Swedish region of western Finland, Greek Revival motifs might be grafted on a purely [[Baroque architecture|Baroque design]], as in the design for [[Oravais]] Church by Jacob Rijf, 1792. A Greek Doric order, rendered in the anomalous form of [[pilaster]]s, contrasts with the hipped roof and boldly scaled cupola and lantern, of wholly traditional Baroque inspiration.

In Austria, one of the best examples of this style is the [[Austrian Parliament Building|Parliament Building]] designed by [[Theophil Hansen]].

==North America==
===Canada===
In [[Canada]], [[Montreal]] architect [[John Ostell]] designed a number of prominent Greek Revival buildings, including the first building on the [[McGill University]] campus and Montreal's original Custom House, now part of the [[Pointe-à-Callière Museum]]. The [[Toronto Street Post Office]], completed in 1853, is another Canadian example.

===United States===
{{see also|Federal architecture}}{{see also|Greek Revival architecture in North America}}
[[File:2ndBankofUSSouthFacade.JPG|thumb|The [[Second Bank of the United States]] in [[Philadelphia]] (1824)]]
[[File:The Sparks-Anderson House.jpg|thumb|This 1852 [[Sparks-Anderson House|Michigan farmhouse]] shows the [[Upright and Wing]] floorplan used by many Greek Revival farmhouses of New England and the Midwest.]]
[[File:Philadelphia Museum of Art, main building.jpg|thumb|The [[Philadelphia Museum of Art]] (1928)]]
[[File:Sailors-snug-harbor.jpg|thumb|Temple Row at [[Sailors' Snug Harbor]] in [[New York City]] (1833)]]
[[File:Aerial_view_of_Lincoln_Memorial_-_east_side_EDIT.jpeg|thumb|The [[Lincoln Memorial]] in [[Washington, D.C.]] (completed 1922)]]
While some 18th-century Americans had feared Greek democracy, sometimes called [[mobocracy]], the appeal of ancient Greece rose in the 19th century along with the growing acceptance of democracy. This made Greek architecture suddenly more attractive in both the North and the South, for differing ideological purposes: for the North, Greek architecture symbolized the freedom of the Greeks; in the South it symbolized the cultural glories enabled by a slave society.<ref>Caroline Winterer, The Culture of Classicism: Ancient Greece and Rome in American Intellectual Life, 1780–1920 (Baltimore: Johns Hopkins University Press, 2002, pp. 44–98.</ref> [[Thomas Jefferson]] owned a copy of the first volume of ''The Antiquities of Athens''.<ref>{{Harvnb|Hamlin|1944|p=339}}</ref> He never practiced in the style, but he played an important role in introducing Greek Revival architecture to the United States.

In 1803, Jefferson appointed [[Benjamin Henry Latrobe]] as surveyor of public building, and Latrobe designed a number of important public buildings in [[Washington, D.C.]] and [[Philadelphia]], including work on the [[United States Capitol]] and the [[Bank of Pennsylvania]].<ref name="wpa-p126">{{citation |title=Washington, City and Capital: Federal Writers' Project |publisher=Works Progress Administration / United States [[United States Government Publishing Office|Government Printing Office]] |author=Federal Writers' Project |year=1937 |pages=126}}.</ref>

Latrobe's design for the U.S. Capitol was an imaginative interpretation of the classical orders not constrained by historical precedent, incorporating American motifs such as corncobs and tobacco leaves. This idiosyncratic approach became typical of the American attitude to Greek detailing. His overall plan for the Capitol did not survive, though many of his interiors did. He also did notable work on the Supreme Court chamber interior in the Capitol (1806–1807), and his masterpiece was the [[Basilica of the National Shrine of the Assumption of the Blessed Virgin Mary|Basilica of the Assumption of the Virgin Mary]] in [[Baltimore]] (1805–1821).

Latrobe claimed, "I am a bigoted Greek in the condemnation of the Roman architecture", but he did not rigidly impose Greek forms. "Our religion," he said, "requires a church wholly different from the temple, our legislative assemblies and our courts of justice, buildings of entirely different principles from their basilicas; and our amusements could not possibly be performed in their theatres or amphitheatres."<ref>''The Journal of Latrobe'', quoted in Hamlin, ''Greek Revival'' d1944), p. 36 (Dover Edition).</ref> His circle of junior colleagues became an informal school of Greek revivalists, and his influence shaped the next generation of American architects.

Greek revival architecture in the United States also included attention to interior decoration. The role of American women was critical for introducing a wholistic style of Greek-inspired design to American interiors. Innovations such as the Greek-inspired "sofa" and the "[[klismos]] chair" allowed both American women and men to pose as Greeks in their homes, and also in the numerous portraits of the period that show them lounging in Greek-inspired furniture.<ref>Caroline Winterer, The Mirror of Antiquity: American Women and the Classical Tradition, 1780–1900 (Ithaca: Cornell University Press, 2007), pp. 102–41</ref>

The second phase in American Greek Revival saw the pupils of Latrobe create a monumental national style under the patronage of banker and [[Philhellenism|philhellene]] [[Nicholas Biddle (banker)|Nicholas Biddle]], including such works as the [[Second Bank of the United States]] by [[William Strickland (architect)|William Strickland]] (1824), Biddle's home "Andalusia" by [[Thomas U. Walter]] (1835–1836), and [[Girard College]], also by Walter (1833–1847). New York saw the construction (1833) of the row of Greek temples at [[Sailors' Snug Harbor]] on [[Staten Island]]. These had varied functions within a home for retired sailors.

From 1820 to 1850, the Greek Revival style dominated the United States, such as the [[Benjamin F. Clough House]] in [[Waltham, Massachusetts]]. It could also be found as far west as [[Old State Capitol State Historic Site|Springfield, Illinois]]. Examples of vernacular Greek Revival continued to be built even farther west, such as in [[Charles City, Iowa]].<ref>Gebhard & Mansheim, ''Buildings of Iowa'', Oxford University Press, New York, 1993 p. 362.</ref>

This style was very popular in the south of the US, where the [[Palladian]] [[colonnade]] was already popular in façades, and many mansions and houses were built for the merchants and rich plantation owners; [[Millford Plantation]] is regarded as one of the finest Greek Revival residential examples in the country.<ref>Jenrette, Richard Hampton (2005). [https://books.google.com/books?id=668GiB6giAwC&pg=PA179 ''Adventures with Old Houses''], p. 179. Wyrick & Company.</ref>

Other notable American architects to use Greek Revival designs included Latrobe's student [[Robert Mills (architect)|Robert Mills]], who designed the [[Monumental Church]] and the [[Washington Monument]], as well as [[George Hadfield (architect)|George Hadfield]] and [[Gabriel Manigault]].<ref name="wpa-p126"/>

At the same time, the popular appetite for the Greek was sustained by architectural pattern books, the most important of which was Asher Benjamin's ''The Practical House Carpenter'' (1830). This guide helped create the proliferation of Greek homes seen especially in northern New York State and in Connecticut's former Western Reserve in northeastern [[Ohio]].

==Polychromy==
{{See also|Polychrome}}
[[File:Tempio b hittorf.jpg|thumb|[[Jacques Ignace Hittorff|Hittorff]]'s reconstruction of Temple B in [[Selinunte]], Greece (1851)]]
The discovery that the Greeks had painted their temples influenced the later development of the style. The archaeological dig at [[Aegina]] and [[Bassae]] in 1811–1812 by Cockerell, [[Otto Magnus von Stackelberg (archaeologist)|Otto Magnus von Stackelberg]], and [[Carl Haller von Hallerstein]] had disinterred painted fragments of masonry daubed with impermanent colours. This revelation was a direct contradiction of [[Johann Joachim Winckelmann]]'s notion of the Greek temple as timeless, fixed, and pure in its whiteness.

In 1823, [[Samuel Angell]] discovered the coloured metopes of Temple C at [[Selinunte]], [[Sicily]] and published them in 1826. The French architect [[Jacques Ignace Hittorff]] witnessed the exhibition of Angell's find and endeavoured to excavate Temple B at Selinus. His imaginative reconstructions of this temple were exhibited in Rome and Paris in 1824 and he went on to publish these as ''{{lang|fr|Architecture polychrome chez les Grecs}}'' (1830) and later in ''{{lang|fr|Restitution du Temple d'Empedocle a Selinote}}'' (1851). The controversy was to inspire von Klenze's "Aegina" room at the Munich [[Glyptothek]] of 1830, the first of his many speculative reconstructions of Greek colour.

Hittorff lectured in [[Paris]] in 1829–1830 that Greek temples had originally been painted [[ochre]] yellow, with the moulding and sculptural details in red, blue, green and gold. While this may or may not have been the case with older wooden or plain stone temples, it was definitely not the case with the more luxurious [[marble]] temples, where colour was used sparingly to accentuate architectural highlights.

[[Henri Labrouste]] also proposed a reconstruction of the temples at Paestum to the {{lang|fr|[[Académie des Beaux-Arts]]|italic=no}} in 1829, decked out in startling colour, inverting the accepted chronology of the three Doric temples, thereby implying that the development of the Greek orders did not increase in formal complexity over time, i.e., the evolution from Doric to Corinthian was not inexorable. Both events were to cause a minor scandal. The emerging understanding that Greek art was subject to changing forces of environment and culture was a direct assault on the architectural rationalism of the day.

==See also==
{{Portal|Architecture}}
* [[Goût grec]]

==Notes==
{{Reflist|2}}

==References==

===Primary sources===
{{Div col}}
*[[Jacob Spon]], ''Voyage d'Italie, de Dalmatie, de Grèce et du Levant'', 1678
*[[Sir George Wheler|George Wheler]], ''Journey into Greece'', 1682
*[[Richard Pococke]], ''A Description of the East and Some Other Countries'', 1743–5
*R. Dalton, ''Antiquities and Views in Greece and Egypt'', 1751
*[[Comte de Caylus]], ''Recueil d'antiquités'', 1752–67
*[[Marc-Antoine Laugier]] ''Essai sur l'architecture'', 1753
*J. J. Winkelmann, ''Gedanken uber die Nachahmung der griechischen Werke in der Malerei und Bildhauerkunst'', 1755
*J. D. LeRoy, ''Les Ruines des plus beaux monuments de la Grèce'', 1758
*[[James Stuart (1713-1788)|James Stuart]] and [[Nicholas Revett]], ''The Antiquities of Athens'', 1762–1816
*J. J. Winkelmann, ''Anmerkungen uber die Baukunst der alten Tempel zu Girgenti in Sicilien'', 1762
*J. J. Winkelmann, ''Geschichte der Kunst des Alterthums'', 1764
*Thomas Major, ''The ruins of Paestum'', 1768
*Stephen Riou, ''The Grecian Orders'', 1768
*R. Chandler et al., ''Ionian Antiquities'', 1768–1881
*G. B. [[Giovanni Battista Piranesi|Piranesi]], ''Differentes vues...de Pesto'', 1778
*J. J. Barthelemy, ''Voyage du jeune Anarcharsis en Grèce dans le milieu du quatrième siecle avant l'ère vulgaire'', 1787
*[[William Wilkins (architect)|William Wilkins]], ''The Antiquities of Magna Grecia'', 1807
*[[Leo von Klenze]], ''Der Tempel des olympischen Jupiter zu Agrigent'', 1821
*S Agnell and T. Evens, ''Sculptured Metopes Discovered among the ruins of Selinus'', 1823
*[[Peter Oluf Brøndsted]], ''Voyages et recherches dans le Grèce'', 1826–1830
*Otto Magnus Stackelberg, '' Der Apollotempel zu Bassae in Arcadien'', 1826
*J. I. Hittorff and L. von Zanth, '' Architecture antique de la sicile'', 1827
*C. R. Cockerell et al., ''Antiquities of Athens and other places of Greece, Sicily, etc.'', 1830
*A. Blouet, ''Expedition scientifique de Moree'', 1831–8
*F. Kugler, ''Uber die Polychromie der griechischen Architektur und Skulptur und ihr Grenze'', 1835
*C. R. Cockerell, ''The Temples of Jupiter Panhellenius at Aegina and of Apollo Epicurius at Bassae'', 1860

====Architectural Pattern Books====
*[[Asher Benjamin]], ''The American Builder's Companion'', 1806
*Asher Benjamin, ''The Builder's Guide'', 1839
*Asher Benjamin, ''The Practical House Carpenter'', 1830
*Owen Biddle, ''The Young Carpenter's Assistant'', 1805
*William Brown, ''The Carpenter's Assistant'', 1848
*[[Minard Lafever]], ''The Young Builder's General Instructor'', 1829
*Minard Lafever, ''The Beauties of Modern Architecture'', 1833
*Thomas U. Walter, ''Two Hundred Designs for Cottages and Villas'', 1846.
{{Div col end}}

===Secondary sources===
*Winterer, Caroline. T''he Culture of Classicism: Ancient Greece and Rome in American Intellectual Life, 1780–1910'' (Baltimore: Johns Hopkins University Press, 2002)
*Winterer, Caroline. ''The Mirror of Antiquity: American Women and the Classical Tradition, 1780–1900'' (Ithaca: Cornell University Press, 2007)
*{{citation |last=Crook |first=Joseph Mordaunt |title=The Greek Revival: Neo-Classical Attitudes in British Architecture 1760–1870 |publisher=John Murray |year=1972 |isbn=0-7195-2724-4}}
*{{citation |last=Hamlin |first=Talbot |title=Greek Revival Architecture in America |publisher=Ohio University Press |year=1944}}
*{{citation |last=Kennedy |first=Roger G. |title=Greek Revival America |year=1989}}
*{{citation |last=Wiebenson |first=Dora |title=The Sources of Greek Revival Architecture |year=1969}}
*{{citation |last=Hoecker |first=Christopher |title=Greek Revival America? Reflections on uses and functions of antique architectural patterns in American architecture between 1760–1860 |work=Hephaistos — New approaches in Classical Archaeology and related fields |volume=15 |year=1997 |pages=197–241}}
*{{citation |last=Ruffner |first=Clifford H. Jr. |url=https://ecommons.cornell.edu/handle/1813/52264|title=Study of Greek Revival Architecture in the Seneca and Cayuga Lake Regions|year=1939 |via=Cornell eCommons}}
*{{Cite book |last=Tyler |first=Norman |first2=Ilene R. |last2=Tyler |date=2014 |title=Greek Revival in America: Tracing its architectural roots to ancient Athens |url=http://tylertopics.com/writing-speaking/historic-preservation-book-2-4/|location=Ann Arbor  |isbn=9781503149984 |publisher=Tyler Topics |url-status=dead |archive-url=https://web.archive.org/web/20160804134538/http://tylertopics.com/writing-speaking/historic-preservation-book-2-4/ |archive-date= Aug 4, 2016 }}
{{Commons category|Greek Revival architecture}}

==External links==
*[https://www.hgtv.com/design/decorating/design-101/greek-revival-architecture "Greek Revival Architecture"] at [[HGTV]]
*[https://www.crest.co.ke/the-greek-revival" Modern Day Greek Revival architecture"]

{{revivals}}
{{Ancient Greece topics}}
{{Architecture in the United States}}
{{Authority control}}

{{DEFAULTSORT:Greek Revival Architecture}}
[[Category:Greek Revival architecture| ]]
[[Category:1840s neologisms]]
[[Category:Architectural styles]]
[[Category:Neoclassical architecture]]
[[Category:Neoclassical movements]]
[[Category:House styles]]
[[Category:Revival architectural styles]]