A brief introduction to Neoclassical Architecture...
The story begins over two thousand years ago with the architecture of Greece and, later, Rome.
Proportion, rounded arches, porticos, tympanums, the five orders (Doric, Ionic, Corinthian, Etruscan, Composite) — this was the original Classical Architecture.
But the Roman Empire fell, the Middle Ages arrived, and Classical Architecture faded away.
In its place Gothic Architecture slowly but surely emerged, a style fundamentally at odds with that of Greece and Rome.
Until, in 15th century Italy, scholars started paying more attention to Roman ruins.
They studied the buildings carefully, read a treatise written by the Roman architect Vitruvius, and learned the rules and motifs of classical architecture.
The Renaissance had begun.
Scholars like Leon Battista Alberti wrote their own books about classical architecture, codifying the different orders, proportions, and design features.
And these Renaissance architects, after learning the rules of classical architecture, applied them in new ways.
The Palazzo della Cancelleria (the first Renaissance palazzo in Rome) isn't necessarily something the Romans or Greeks would actually have built themselves, even though it uses their rules about proportion and the same decorative elements.
This is general, small N neoclassicism.
During the 16th century a new form of neoclassical architecture appeared — Baroque — partly in response to the Protestant Reformation.
Baroque still operated on classical ideas, but it played with the rules and was far more exuberant and ornamented than the Renaissance style.
Eventually this morphed into the Late Baroque, or Rococo Style.
This was an even more refined and extravagant form of neoclassicism, moving ever further away from the actual architecture of Greece and Rome.
Luxurious, flamboyant, theatrical.
Things changed in the second half of the 18th century. People started paying more attention to Greek architecture in particular, which was simpler and more restrained than Roman architecture.
Think of the Baroque and the Rococo — now look at a Greek temple. Worlds apart.
After the extravagance of the Baroque and Rococo it was time for something more serious — capital N Neoclassical Architecture was born.
Suddenly architects were designing buildings which the Greeks or the Romans might have actually built themselves.
Like La Madeleine in Paris.
This sort of Neoclassical Architecture was much less decorative and far more austere, imposing, and even rather geometric.
It wasn't always an *exact* copy of classical architecture, but you can see how something like the British Museum is much closer to original Greek design.
And so this was called the Greek Revival; the purest form of Neoclassical Architecture.
All across the world, though mainly in Europe, buildings started appearing which had not really been seen for almost 2,000 years.
Neoclassicism at its peak.
But Neoclassicism was a global movement, of course, and it took on slightly different forms around the world.
In the USA the Founding Fathers adopted a rather pure Neoclassicism to match their political admiration for the Romans and Greeks.
But then there's something like the US Capitol.
With that colossal dome it is certainly an interpretation of Classical Architecture rather than pure imitation.
But compare it to Baroque or Rococo or even Renaissance — this is still much closer to the original thing.
In Britain there was a movement known as "Palladianism", named after the Renaissance architect Andrea Palladio and his unusually simple and harmonious interpretation of classical architecture.
Chiswick House, built in 1729, is the ultimate Neo-Palladian building.
Georgian architecture is also part of this broader Neoclassical movement — not so much because it directly imitated Greco-Roman Architecture, but because it cleaved to their principles of symmetry, simplicity, and proportion.
The Royal Crescent in Bath is a perfect example.
Neoclassicism in France reached its zenith during the reign of Napoleon — who cast himself as the successor to the Roman Emperors.
This was the monumental, intimidating "Empire Style", epitomised by the Arc de Triomphe, a callback to the triumphal arches of ancient Rome.
Then there's the Beaux-Arts Style, which saw the return of certain Baroque tendencies; pure, rigorous Neoclassicism was beginning to fade in some parts of the world.
By the second half of the 19th century in France it had gone altogether; just look at the Palais Garnier.
There were many more variations of Neoclassicism with varying levels of adherence to original Greco-Roman Architecture, but all united by a general tendency toward simplicity and monumentality, far from the excesses of Baroque.
Renaissance, Baroque, and Rococo are all neoclassical because they are inspired by and use the rules of Ancient Greek and Roman architecture.
But true Neoclassical Architecture directly imitated the temples actually built by the Greeks and the Romans.
It's important not to get too caught up with "styles" — the lines are inevitably blurred and architecture is always about more than rules and external appearances.
But, hopefully, this has helped to explain the difference between neoclassical and Neoclassical architecture...
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A brief guide to the Nine Circles of Hell according to Dante's Inferno...
From the things that land people in each circle (including astrology and political corruption) to how they're punished — and who else is already there:
It begins in a dark forest at midnight on Maundy Thursday, the day before Good Friday, in the year 1300.
Exactly halfway through Dante's life.
He is pursued by three beasts — a lion, leopard, and wolf — before the ghost of the ancient Roman poet Virgil saves him.
Virgil has been sent to help Dante travel through Hell on a journey of personal salvation.
They leave the forest and reach the doorway to the underworld, above which are written the words:
Why does The Lord of the Rings still look so good?
Many reasons, but here's one: Minas Tirith wasn't CGI. They built a miniature version of the city and filmed that. It looks realistic — because it was real.
And this wasn't even the biggest model they made...
Peter Jackson, director of The Lord of the Rings, loves "miniatures".
What's a miniature? You build a model of what is impossible, or difficult, to build for real.
They can be digitally enhanced, but miniatures give a texture and sense of realism that CGI can't replicate alone.
This is one of the oldest techniques in film-making, of course, going back well over a century.
A famous example is the 1927 film Metropolis.
Using foam, wood, polysterene, and just about everything else, artists and designers use miniatures to bring fictional worlds to life.
It was made by Giuseppe Arcimboldo, one of the strangest (and funniest) artists who ever lived...
Giuseppe Arcimboldo was born in Milan in the year 1526, and he spent his life working in the court of the Holy Roman Emperors.
His unusual career — during which he painted things like Four Seasons in One Face, below — came just after the High Renaissance:
During the High Renaissance painters like Leonardo, Raphael, and Michelangelo had seemingly perfected art — in their shadow, what more could be achieved?
Their work had been graceful and harmonious, defined by mellow colours and highly idealised human figures:
When talking about Gothic Architecture — the architecture of Medieval Europe between the 12th and 16th centuries — people tend to focus on the outward appearance of buildings.
We say Gothic Architecture is about things like pointed arches, flying buttresses, and gargoyles.
But there is more to Gothic Architecture than that.
Because people didn't just decide to create "Gothic" cathedrals — these buildings, and every part of them, were the logical conclusion of a whole worldview.
Such was the argument made by a writer called John Ruskin in 1853.
Here are some ways it has been remembered since, in art and architecture — beginning with this simple but moving memorial in Hungary...
It's almost impossible to understand the scale of the First World War, which lasted from 1914 to 1918, until you've seen the cemeteries that had to be created after it ended.
At the Douaumont Ossuary in France, for example, 146,000 soldiers are buried.
And so the former battlefields of France and Belgium are now home to an endless procession of memorials dedicated to the First World War, each attempting in their own way to commemorate, teach, and endure.
From the soaring spires of the Canadian National Vimy Memorial: