Neoclassical architecture

An architectural style inspired by ancient Greek and Roman buildings, marked by symmetry, geometric forms, and classical columns and ornament.

Classical orders: Systems of column design and proportion developed in ancient Greek and Roman architecture. Their columns and entablatures supply neoclassical buildings with recognizable classical forms.
Neoclassicism: An artistic and intellectual movement that revived classical Greek and Roman ideals. Neoclassical architecture was the movement’s architectural expression.
Panthéon: A Paris monument designed by Jacques-Germain Soufflot and completed as a church in 1790. Its domed mass and monumental portico became a major French neoclassical landmark.
Jacques-Germain Soufflot: An eighteenth-century French architect who designed the Panthéon in Paris. His Panthéon joined a classical portico to an ambitious domed interior.
Greek Revival architecture: A nineteenth-century style that closely revived ancient Greek architectural forms. Its more direct emphasis on Greek models distinguishes it from broader neoclassical practice.
Doric order: The simplest ancient Greek architectural order, characterized by sturdy columns and plain capitals. Its restrained columns became a defining choice for many neoclassical façades.
Andrea Palladio: A sixteenth-century Italian architect whose study of ancient Rome shaped European architecture. His villas and writings established models later adopted by neoclassical designers.
United States Capitol: The seat of the United States Congress, a neoclassical complex on Capitol Hill in Washington, D.C. Its classical forms frame the new republic as an heir to ancient civic traditions.
Robert Adam: A Scottish architect and designer who helped shape British neoclassical architecture and interiors. His elegant reinterpretation of classical ornament broadened the style beyond monumental façades.
Gothic Revival architecture: A nineteenth-century style that revived medieval Gothic forms, including pointed arches and tracery. Its medieval sources and vertical emphasis oppose neoclassical preference for classical symmetry.

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