Editing Egyptian Revival architecture (section)

==History==
===Egyptian influence before Napoleon===
Much of the early knowledge about ancient Egyptian arts and architecture was filtered through the lens of the Classical world, including ancient Rome. Prior to [[Napoleon]]'s influence an early example is the [[Obelisk]] of [[Domitian]], erected in 1651 by [[Gian Lorenzo Bernini|Bernini]] on top of the [[Fontana dei Quattro Fiumi]] in [[Piazza Navona]], [[Rome]], which went on to inspire several Egyptian obelisks constructed in Ireland during the early 18th century. It influenced the obelisk constructed as a family funeral memorial by Sir [[Edward Lovett Pearce]] for the [[Viscount Allen|Allen family]] at [[Stillorgan]] in Ireland in 1717, one of several Egyptian obelisks erected in Ireland during the early 18th century. Others may be found at Belan, [[County Kildare]]; and Dangan, County Meath. [[Conolly's Folly]] in County Kildare is probably the best known, albeit the least Egyptian-styled.

Egyptian buildings had also been built as [[Folly|garden follies]]. The most elaborate was probably the one built by Duke [[Frederick I of Württemberg]] in the gardens of the [[Château de Montbéliard]]. It included an Egyptian bridge across which guests walked to reach an island with an elaborate Egyptian-influenced [[bath house]]. Designed by [[Jean-Baptiste Kléber]], later French commander in Egypt, the building had a billiards room and a [[bagnio]].

During the 2nd half of the 18th century, with the rise of [[Neoclassical architecture|Neoclassicism]], sometimes architects mixed the [[Ancient Greek architecture|Ancient Greek]], [[Ancient Roman architecture|Roman]] and [[Ancient Egyptian architecture|Egyptian]] styles. They wanted to discover new shape and ornament ideas, rather than to be just faithful copyists of the past.{{sfn|Bergdoll|2000|pp=23}}

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Cimetière anglais de Rome.jpg|[[Pyramid of Cestius]], Rome, by Gaius Cestius, {{circa}}12 BC

Cathedral (Vicenza) - Interior - Monument to Lavinia Thiene by Giulio Romano.jpg|[[Renaissance architecture|Renaissance]] monument to [[Lavinia Thiene]], with an Egyptian-inspired pyramid on it, [[Vicenza Cathedral]], [[Vicenza]], Italy, by [[Giulio Romano (painter)|Giulio Romano]], 1544

Adlerbergska gravkoret, Järfälla kyrka, 2014b.jpg|Pyramid grave, churchyard in [[Järfälla]], [[Sweden]], unknown architect, 18th century{{sfn|Sund|2019|p=221}}

Piranesi - Caffè degli Inglesi 02.jpg|''Mural decoration for the Caffè degli Inglesi, Piazza di Spagna, Rome'', [[Metropolitan Museum of Art]], New York City, by [[Giovanni Battista Piranesi]], 1769{{sfn|Sund|2019|p=210}}

Parc Monceau 20060812 03.jpg|Pyramid in the gardens of [[Parc Monceau]], Paris, unknown architect, 1778

Boullée - Cénotaphe égyptien - élévation.jpg|''Cenotaph in Egyptian Style'', [[Bibliothèque nationale de France|Bibliothèque Nationale de France]], Paris, by [[Étienne-Louis Boullée]], {{circa}}1786

Pyramide3.jpg|Pyramid used as a [[Ice house (building)|cold store]], [[New Garden, Potsdam]], Germany, by [[Andreas Ludwig Krüger]], 1791-1792<ref>{{cite book|last1=Borngässer|first1=Barbara|title=Potsdam – Art, Architecture and Landscape|date=2020|publisher=Vista Point|isbn=978-3-96141-579-3|page=292|url=|language=en}}</ref>

Project to transform the Panthéon, by Charles de Wailly, 1797.jpg|Project to transform the [[Panthéon]], by [[Charles de Wailly]], 1797{{sfn|Bergdoll|2000|pp=113}}

Wien Augustinerkirche Kenotaph Maria Christina 1.jpg|Cenotaph of Archduchess [[Maria Christina, Duchess of Teschen]], [[Augustinian Church, Vienna]], [[Austria]], by [[Antonio Canova]], 1798–1805<ref>{{cite book|last1=Argan|first1=Giulio Carlo|title=Art Modernă|date=1982|publisher=Editura Meridiane|isbn=|page=|url=|language=ro}}</ref>

2 Place du Caire, Paris (07).jpg|Passage du Caire ([[Place du Caire]] no. 2), Paris, by [[Philippe-Laurent Prétrel]], 1798<ref>{{cite book|last1=Valade|first1=Bernard|last2=Fierro|first2=Alfred|title=Paris|date=1997|publisher=Citadelles & Mazenod|isbn=2-85088-150-3|page=296|url=|language=fr}}</ref>

Elysium, by Louis-Sylvestre Gasse, 1799, Bibliothèque de l'École nationale supérieure des Arts décoratifs, Paris.jpg|Design for the Elysium, by [[Louis-Sylvestre Gasse]], 1799<ref>{{cite book|last1=Gössel|first1=Peter|last2=Leuthäuser|first2=Gabriele|title=Architecture in the 20th Century|date=2022|publisher=Taschen |isbn=978-3-8365-7090-9|page=11|url=|language=en}}</ref>
</gallery>

===Napoleonic and Post-Napoleonic eras===
New after the Napoleonic invasion was a sudden increase of the number of works of art and the fact that, for the first time, entire buildings began to be built to resemble those of ancient Egypt. In France and Britain this was at least partially inspired by successful war campaigns undertaken by each country while in Egypt.

For Napoleon's intention of cataloguing the sights and findings from the campaign, hundreds of artists and scientists were enlisted to document "antiquities, ethnography, architecture, and natural history of Egypt"; and later these notes and sketches were taken back to Europe. In 1803, the compilation of "[[Description de l'Égypte]]" was started based on these documents and lasted over twenty years. The content in this archaeological text, includes translation of the [[Rosetta Stone]], pyramids and other scenes, arouse interests in Egyptian arts and culture in Europe and America.

According to [[James Stevens Curl]], people started to present their imaginations about Egypt in various ways. First, combinations of crocodiles, pyramids, mummies, sphinxes, and other motifs were widely circulated. In 1800, an Egyptian opera festival was staged in [[Drury Lane]], London, with Egyptian-themed sets and costumes. On the other hand, [[William Capon (artist)|William Capon]] (1757–1827) suggested a massive pyramid for [[Shooter's Hill]] as a National Monument, while [[George Smith (architect)|George Smith]] (1783–1869) designed an Egyptian-style tomb for [[Ralph Abercromby]] in [[Alexandria]].

According to [[David Brownlee]], the 1798 [[Karlsruhe Synagogue]], an early building by the influential [[Friedrich Weinbrenner]] was "the first large Egyptian building to be erected since antiquity."<ref>[[David Brownlee]], ''Frederich Weinbrenner: Architect of Karlsruhe'', University of Pennsylvania Press, 1986. p. 92.</ref>  According to [[Diana Muir]], it was "the first public building (that is, not a folly, stage set, or funeral monument) in the Egyptian revival style."<ref>[[Diana Muir|Diana Muir Appelbaum]], [https://muse.jhu.edu/article/501286 "Jewish Identity and Egyptian Revival Architecture"], ''Journal of Jewish Identities'', 2012, 5(2) p. 7.</ref>  The ancient Egyptian influence was mainly shown in the two large engaged [[Pylon (architecture)|pylons]] flanking the entrance; otherwise the windows and entrance of the central section were pointed arches, and the overall plan conventional, with [[Neo-Gothic]] details.

Among the earliest monuments of the Egyptian Revival in Paris is the [[Fontaine du Fellah]], built in 1806. It was designed by [[François-Jean Bralle]]. A well-documented example, destroyed after Napoleon was deposed, was the monument to General [[Louis Desaix]] in the [[Place des Victoires]] was built in 1810. It featured a nude statue of the general and an obelisk, both set upon an Egyptian Revival base.<ref>{{cite book |title=The Egyptian Revival |last=Curl |first=James Stevens |year=2005 |publisher=Psychology Press |isbn=9780415361194 |page=276  }}<!--|access-date=7 September 2012--></ref> Another example of a still standing site of Egyptian Revival is the [[Egyptian Gate of Tsarskoe Selo]], built in 1829.

A street or passage named the Place du Caire or Foire du Caire (Fair of Cairo) was built in Paris in 1798 on the former site of the convent of the "Filles de la Charité". No. 2 Place du Caire, from 1828, is essentially in overall form a conventional Parisian structure with shops on the ground floor and apartments above, but with considerable Egyptianizing decoration including a row of massive [[Hathor]] heads and a frieze by sculptor J. G. Garraud.<ref>[[James Stevens Curl]], ''The Egyptian Revival'', Routledge/* Post-Napoleonic era */ , London, 2005. p. 267.</ref>

One of the first British buildings to show an Egyptian Revival interior was the newspaper office of the ''Courier'' on the [[Strand, London]].  It was built in 1804 and featured a [[cavetto]] (coved) [[cornice]] and Egyptian-influenced columns with palmiform [[capital (column)|capitals]].<ref>''Egyptomania: Egypt in Western Art, 1730–1930'', Jean-Marcel Humbert, Michael Pantazzi and Christiane Ziegler, 1994, pp. 172–173</ref>  Other early British examples include the [[Egyptian Hall]] in London, completed in 1812, and the Egyptian Dining Room at [[Goodwood House]] (1806). There was also the Egyptian Gallery, a private room in the home of connoisseur [[Thomas Hope (designer)|Thomas Hope]] to display his Egyptian antiquities, and illustrated in engravings from his meticulous line drawings in his book ''Household Furniture'' (1807), were a prime source for the [[Regency style]] of British furnishings.

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Hôtel de Beauharnais.jpg|Portico of the [[Hôtel Beauharnais]], Paris, by L.E.N. Bataille, {{circa}}1804{{sfn|Sund|2019|p=216}}

Fontaine du Fellah Paris.JPG|[[Fontaine du Fellah]], Paris, by [[François-Jean Bralle]], 1806

Hope egyptian room.jpg|Egyptian room design, unknown location, by [[Thomas Hope (designer)|Thomas Hope]], 1807

Fontaine du Palmier Sphinx 240907 04.jpg|Sphinx of the [[Fontaine du Palmier]], Paris, unknown sculptor, 1808 and 1858

Schinkel Szenenentwurf Zauberflöte Feuer- und Wasserprobe.jpg|Design for an Egyptian set for Act II of [[The Magic Flute]], by [[Karl Friedrich Schinkel]], 1815, watercolour on paper, [[Bibliothèque-Musée de l'Opéra National de Paris|Bibliothèque de l'Opéra National]], Paris<ref>{{cite book|last1=Graham-Nixon|first1=Andrew|title=art THE DEFINITIVE VISUAL HISTORY|date=2023|publisher=DK|isbn=978-0-2416-2903-1|page=309|url=|language=en}}</ref>

Egyptian Hall, Piccadilly - Shepherd, Metropolitan Improvements (1828), p295 (edited).jpg|Peter Frederick Robinson's [[Egyptian Hall]] (England's Home of Mystery), [[Wellcome Collection]], London, by A. McClatchy after [[Thomas H. Shepherd]], 1828{{sfn|Sund|2019|p=210}}

Egypt Gates.JPG|[[Egyptian Gate of Tsarskoye Selo]], [[Saint Petersburg]], [[Russia]], unknown architect, 1829
</gallery>

=== Rise of Egyptian Revival in America ===
[[File:Travels in Egypt and Nubia Fleuron T006299-4.png|thumb|205x205px|Travels in Egypt and Nubia, Fredrick Norden, 1757]]
The first Egyptian Revival building in the United States was the 1824 synagogue of [[Congregation Mikveh Israel]] in [[Philadelphia]].<ref>[[Diana Muir]], "Jewish Identity and Egyptian Revival Architecture", Journal of Jewish Identities, 2012 5(2)</ref>  It was followed by a series of major public buildings in the first half of the 19th century including the 1835 [[Moyamensing Prison]], Philadelphia, Pennsylvania, United States, the 1836 Fourth District Police Station in New Orleans and the 1838 New York City jail known as [[the Tombs]].  Other public buildings in Egyptian style included the 1844 [[Old Whaler's Church (Sag Harbor)|Old Whaler's Church]] in [[Sag Harbor, New York]], the 1846 [[First Baptist Church of Essex, Connecticut]], the 1845 [[Egyptian Building]] of the [[Medical College of Virginia]] in Richmond and the 1848 [[United States Custom House (New Orleans)]]. The most notable Egyptian structure in the United States was the [[Washington Monument]], begun in 1848, this obelisk originally featured doors with cavetto cornices and winged sun disks, later removed. The [[National World War I Museum and Memorial]] in [[Kansas City, Missouri]], is another example of Egyptian revival architecture and art.<ref>{{Cite news |date=2013-03-01 |title=Elements of the Museum and Memorial {{!}} National WWI Museum and Memorial |url=https://www.theworldwar.org/explore/museum-and-memorial/elements-museum-and-memorial |access-date=2018-11-02 |work=National WWI Museum and Memorial |language=en}}</ref>

Around the 1870s, Americans started to become interested in other cultures, including those of Japan, the Middle East and North Africa, leading to a second period of interest in Egyptian revival. Egyptian motifs and symbols were commonly used in the design including elements of "gilt bronze fittings shaped like sphinxes, Egyptian scenes woven into textiles, and geometric renderings of plants such as palm fronds".<ref name=":0">{{Cite web|last=Ickow|first=Sara|date=July 2012|title=Egyptian Revival|url=https://www.metmuseum.org/toah/hd/erev/hd_erev.htm|url-status=live|access-date=2021-09-30|website=www.metmuseum.org|archive-url=https://web.archive.org/web/20121105081608/http://www.metmuseum.org/toah/hd/erev/hd_erev.htm |archive-date=2012-11-05 }}</ref>

Some Americans in the 1880s believed that the United States was a nation without art and therefore wanted to innovate in the field of aesthetic design to distinguish it from Egyptian pyramids and obelisks, Greek temples, and Gothic spires. But implementing such innovations was difficult, and as [[Clarence King]] said, "Till there is an American race there cannot be an American style". The creation of the American style was also hindered by the fact that the ethnic mix of the American people did not constitute a race.<ref>{{Cite book|last=Giguere|first=Joy M.|url=https://www.worldcat.org/oclc/893336717|title=Characteristically American : memorial architecture, national identity, and the Egyptian revival|date=2014|publisher=The University of Tennessee Press|isbn=978-1-62190-077-1|edition=1st|location=Knoxville|oclc=893336717}}</ref> In the time that followed, however, America's own culture was assimilating Egyptian revivalist architecture, and their tectonic significance became unstable. This may be because the United States of the early 20th century was a confident nation, and the approach of defining one's own spiritual world by establishing a connection to a great civilization like ancient Egypt faded in such a cultural context.<ref>{{Cite journal|last=Grubiak|first=Margaret M.|date=2016|title=Characteristically American: Memorial Architecture, National Identity, and the Egyptian Revival by Joy M. Giguere|url=http://dx.doi.org/10.1353/tech.2016.0009|journal=Technology and Culture|volume=57|issue=1|pages=256–257|doi=10.1353/tech.2016.0009|s2cid=112725318 |issn=1097-3729|url-access=subscription}}</ref>

=== Other countries ===
The [[South African College]] in the then-British [[Cape Colony]] features an "Egyptian building" constructed in 1841; the Egyptian Revival building of the [[Gardens Shul|Cape Town Hebrew Congregation]] is also still standing.

The York Street Synagogue was Australia's first Egyptian revival building, followed by the [[Hobart Synagogue]], the [[Launceston Synagogue]] and the [[Adelaide Hebrew Congregation]], all by 1850.  The earliest obelisk in Australia was erected at [[Macquarie Place]], Sydney in 1818.<ref>Humbert, Jean-Marcel and Price, Clifford, eds., ''Imhotep Today: Egyptianizing Architecture'', UCL Prewss, 2003, pp. 167 ff.</ref>

===Later revivals===
[[File:De dood van de eerstgeborene van de farao, SK-A-2664.jpg|thumb|The Death of the Pharaoh's Firstborn Son, by [[Lawrence Alma-Tadema]], 1872, oil on canvas, 77 × 124.5 cm, in the [[Rijksmuseum]] in [[Amsterdam]]. Revivals of the arts of ancient Egypt were not limited only to architecture. There were also Egyptian Revival designs of furniture, ceramics, candelabra, jewelry etc. Also, some 19th and very early 20th century [[Academic art|Academic]] paintings shows scenes from Ancient Egypt]]The expeditions that eventually led to the [[Discovery of the tomb of Tutankhamun|discovery in 1922 of Tutankhamun's tomb]] by archaeologist [[Howard Carter (archaeologist)|Howard Carter]] resulted in a 20th-century revival.  The revival during the 1920s is sometimes considered to be part of the [[Art Deco]] style. This phase gave birth to the [[Egyptian Theatre]] movement, largely confined to the United States. The [[Egyptian Revival decorative arts]] style was present in furniture and other household objects, as well as in architecture.

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Egyptian Avenue Highgate Cemetery.jpg|Entrance to Egyptian Avenue of the [[Highgate Cemetery]], London, unknown architect, 19th century{{sfn|Sund|2019|p=222}}

Père-Lachaise - Division 4 - Poinsot 01.jpg|Mixed with [[Neoclassical architecture|Neoclassicism]] – Grave of [[Louis Poinsot]] in [[Père-Lachaise Cemetery]] in Paris, by [[David d'Angers]], mid-19th century

Main gate of Mount Auburn Cemetery - 080154pu.tif|Entry gate of the [[Mount Auburn Cemetery]], located on the line between [[Cambridge, Massachusetts|Cambridge]] and [[Watertown, Massachusetts|Watertown]], Massachusetts, by [[Jacob Bigelow]]{{sfn|Sund|2019|p=223}}

Egyptian Building, Richmond, VA.jpg|[[Egyptian Building]], part of the [[Virginia Commonwealth University]], [[Richmond, Virginia]], by [[Thomas Somerville Stewart]], 1845{{sfn|Hopkins|2014|p=130}}

Templo masónico histórico, Santa Cruz de Tenerife, España, 2012-12-15, DD 06.jpg|Sphinxes of the [[Masonic Temple of Santa Cruz de Tenerife]], [[Spain]], by [[Manuel de Cámara]], 1899-1902

Negustori colț cu Paleologu. -streetphotography -bucharest -windows -rusty -old (34264373636).jpg|Mixed with [[Art Nouveau]] – [[Stained glass]] window of the Romulus Porescu House, decorated with lotus flowers, [[Bucharest]], [[Romania]], 1905, by [[Dimitrie Maimarolu]]<ref>{{cite book|last1=Constantin|first1=Paul|title=Arta 1900 în România|date=1972|publisher=Editura Meridiane|isbn=|page=93|url=|language=ro}}</ref>

Strasbourg (Bas-Rhin) - Neustadt - "Maison égyptienne" (Scheyder et Zilly, 1905-1906 ) (10 rue du Général Rapp) - 52307809924.jpg|Mixed with Art Nouveau – Egyptian House (Rue du Général Rapp no. 10), [[Strasbourg]], France, designed by the architect [[Franz Scheyder]] in collaboration with painter [[Adolf Zilly]], 1905–1906<ref>{{cite web|url=https://www.enjoystrasbourg.com/egyptian-house-strasbourg/|website=enjoystrasbourg.com|title=The Egyptian House Of Strasbourg|author=Thibaut|date=26 September 2022 |access-date=19 August 2023}}</ref>

Paris 10e Cinéma Le Louxor 965.jpg|Mixed with [[Art Deco]] – [[Le Louxor]] Cinema, Paris, by [[Henri Zipcy]], 1919–1921<ref>{{cite book|last1=Texier|first1=Simon|title=Architectures Art Déco – Paris et Environs – 100 Bâtiments Remarquable|date=2022|publisher=Parigramme|isbn=978-2-37395-136-3|page=37|url=|language=en}}</ref>

Reebie Storage building during feb 2 2011 storm.JPG|[[Reebie Storage Warehouse]], Chicago IL, 1922, architect [[George Kingsley (architect)|George Kingsley]] and sculptor [[Fritz Albert]]

Bucharest crematorium.jpg|Mixed with [[Romanian Revival architecture|Romanian Revival]] and Art Deco – Cenușa Crematory, mixing Egyptian Revival volumes and shapes with other styles, Bucharest, by [[Duiliu Marcu]], 1925–1934

Père-Lachaise - Division 96 - Lang-Verte 05.jpg|Mixed with Art Deco – Grave of Lang-Verte, Père-Lachaise Cemetery, unknown architect, {{circa}}1920s

File:Egyptian Theatre in DeKalb Il.jpg|Mixed with Art Deco - [[Egyptian Theatre (DeKalb, Illinois)]], by [[Elmer F. Behrns]], 1929–1930{{sfn|Sund|2019|p=224}}

Lift door Chrysler Building Lobby.jpg|Mixed with Art Deco - Elevator door in the [[Chrysler Building]], New York City, by [[William van Alen]], 1929–1930

File:Carlton Cinema, Essex Road - panoramio.jpg|Mixed with Art Deco - [[Carlton Cinema, Essex Road]], [[Islington]], London, by [[George Coles (architect)|George Coles]], 1930<ref>{{cite book|last1=van Lemmen|first1=Hans|title=5000 Years of Tiles|date=2013|publisher=The British Museum Press|isbn=978-0-7141-5099-4|page=246|url=|language=en}}</ref>
</gallery>'''Contemporary Revivals'''

Contemporary Egyptian revival architecture is not as prevalent as it was in the 30s, even up to the 50s. There are two types of contemporary Egyptian Revival described here: concepts of Egyptian architecture or highly themed Egyptomania architecture. An example of an Egyptian revival architecture concept is the I.M. Pei Louvre Pyramid (1984 to 1989), although the architect refuses the correlation to the Ancient Egyptians, stating that the pyramid is a demonstration of pure form.<ref name=":02">{{Cite book |last=Humbert |first=Jean-Marcel |title=Imhotep today: egyptianizing architecture |last2=Price |first2=Clifford A. |date=2003 |publisher=UCL press |others=Institute of archaeology |isbn=978-1-84472-006-4 |series=Encounters with ancient Egypt |location=London}}</ref> But the public connects the Louvre Pyramid to the Giza Pyramids, which has caused controversy, almost leading to the project's cancellation.<ref name=":02" /> Also, researchers discovered connections of the I.M. Pei pyramids to Ancient Egyptian themes, themes like civilization.<ref name=":12">{{Cite journal |last=Göktürk Peker |date=2025-01-24 |title=The Interpretation of Contemporary Additions in Reuse Practices Through Semiotics: The Case of the Louvre Pyramid |url=https://doi.org/10.52783/jisem.v10i6s.732 |journal=Journal of Information Systems Engineering and Management |volume=10 |issue=6s |pages=344–354 |doi=10.52783/jisem.v10i6s.732 |issn=2468-4376|doi-access=free }}</ref> The reason for the connection is the Louvre's and Egyptian archaeology's mutual history.<ref name=":12" /> Additionally, the underground elements of the pyramid correlate to the underground structures of the Egyptian Pyramids, according to the same researchers.<ref name=":12" /> The only additional ideologies in contemporary Egyptian revival architecture are based on the philosophical and religious ideology of immortality,<ref name=":2">{{Cite web |last=Abdoh |first=Sara |date=2018 |title=Architectural Egyptomania: A Study to Enhance the Revival of the Ancient Motifs in Contemporary Buildings |url=https://www.researchgate.net/profile/Sara-A-Abdoh/publication/349239885_Architectural_Egyptomania_A_study_to_enhance_the_Revival_of_the_Ancient_Motifs_in_contemporary_buildings/links/60e9b26b0fbf460db8fa484f/Architectural-Egyptomania-A-study-to-enhance-the-Revival-of-the-Ancient-Motifs-in-contemporary-buildings.pdf |url-status=live |access-date=March 31, 2025 |website=Faculty to Factory: The 5th International Conference of Faculty of Applied Arts}}</ref>and within the last 30 years, Egyptian pyramid elements in cemeteries are still prevalent for that reason.<ref name=":3">{{Citation |last=Elliott |first=Chris |title=EGYPT IN LONDON – ENTERTAINMENT AND COMMERCE IN THE 20th CENTURY METROPOLIS |date=2012-10-12 |work=Imhotep Today |pages=105–122 |url=https://doi.org/10.4324/9781843147640-6 |access-date=2025-04-01 |publisher=UCL Press |isbn=978-1-84314-764-0 |last2=Griffis-Greenberg |first2=Katherine |last3=Lunn |first3=Richard}}</ref> Some contemporary architecture uses Egyptian revival to tie buildings to Ancient Egyptian ideologies.<ref name=":2" /> Some include museum exhibitions (ex., the Royal Ontario Museum train station),<ref name=":4">{{Cite web |date=2018-06-21 |title=Art on the tracks {{!}} Royal Ontario Museum |url=https://www.rom.on.ca/media-centre/magazine/art-tracks |access-date=2025-04-01 |website=www.rom.on.ca |language=en}}</ref> justice buildings to tie to ancient Egyptian justice ideals, schools to tie to their scientific progress, and tombs or shrines to immortality.<ref name=":2" />

In the 1970s through to the 2000s, there was some Egyptian revival because of America's re-fascination with King Tutankhamun due to the 1976 to 1979 exhibition of the king's tomb.<ref>{{Cite journal |last=Whitehouse |first=Helen |date=1997-01-01 |title=Egyptomanias |url=https://doi.org/10.2307/506254 |journal=American Journal of Archaeology |volume=101 |issue=1 |pages=158–161 |doi=10.2307/506254 |issn=0002-9114|url-access=subscription }}</ref> Another revival reason for Egyptomania in contemporary architecture is mummymania.<ref name=":5">{{Cite journal |last=Moser |first=Stephanie |date=2014-11-20 |title=Reconstructing Ancient Worlds: Reception Studies, Archaeological Representation and the Interpretation of Ancient Egypt |url=https://doi.org/10.1007/s10816-014-9221-z |journal=Journal of Archaeological Method and Theory |volume=22 |issue=4 |pages=1263–1308 |doi=10.1007/s10816-014-9221-z |issn=1072-5369|url-access=subscription }}</ref> The version of ancient Egypt in movies created an interest in ancient Egypt, which led to the construction of themed experiences.<ref name=":5" /> The construction of themed experiences for monetization in entertainment and retail heightened in the early contemporary architecture, which brought to life the Luxor Hotel (1993, Las Vegas) by Veldon Sympson,<ref>{{Cite web |date=2022-05-28 |title=10 Contemporary Buildings Inspired by the Egyptian Pyramid Typology |url=https://www.archdaily.com/982205/10-contemporary-buildings-inspired-by-the-egyptian-pyramid-typology |access-date=2025-04-01 |website=ArchDaily |language=en-US}}</ref> with immersive experiences and a themed hotel experience around Ancient Egypt.<ref name=":5" /> Contemporary Egyptomania architecture was themed around ancient Egyptian fantasicalization,<ref name=":5" /> and an example of contemporary Egyptian Revival in residential architecture is Jim Onon's property built in the 1980s.<ref name=":3" /> Jim Onan was a wealthy American who transformed part of his property in Illinois with an Egyptomania theme, which caused controversy.<ref name=":02" /> The construction included an alley of sphinxes and multiple pyramids, with one being coated in 24-carat gold.<ref name=":02" />

An example of museum Egyptian revival architecture is The Royal Ontario Museum Metro Station by Diamond Schmitt, which was built in 2008 in Toronto, Canada.<ref name=":6">{{Cite web |date=2022-02-01 |title=Museum Station |url=https://dsai.ca/projects/museum-station/ |access-date=2025-04-01 |website=Diamond Schmitt |language=en-US}}</ref> As one of the most recent Egyptian Revival Architecture, it is entirely based on artifacts from the museum, including the hieroglyphs and the sculptures.<ref name=":6" /> The architects consulted historians and scholars to design the station, the statue of a mummified Osiris with a king's headdress, and to replicate historical artifacts, which are all replicas from the ones in the museum, including all the hieroglyphs (based on the reliefs in the gallery).<ref name=":4" /> This project is intended to improve the quality of life and connect history to the community.<ref name=":4" />

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File:Homebase - geograph.org.uk - 4066519.jpg|Mixed with Postmodernism - Homebase ([[Warwick Road, Earl's Court|Warwick Road]], Royal Borough of Kensington and Chelsea, London, by [[Ian Pollard]], 1998-1990, demolished in 2014<ref>{{cite book|last1=Geraint Franklin|first1=Elain Harwood|title=POSTMODERN Building in Britain|date=2017|publisher=Twentieth Century Society C20|isbn=978-1-84994-450-2|page=99|url=|language=en}}</ref>

File:Four Seasons Hotel London Canary Wharf 2010.jpg|Mixed with Postmodernism  - [[Canary Riverside Plaza]], London, by [[César Pelli]], 1991

Las Vegas Luxor 04.jpg|Mixed with Postmodernism – [[Luxor Las Vegas|Luxor Hotel and Casino]] in [[Las Vegas]], by [[Veldon Simpson]] and [[Perini Building Company]], 1992–1993{{sfn|Sund|2019|p=212}}

File:Modern house overlooking the Thames - geograph.org.uk - 2527920.jpg|Mixed with [[Postmodern architecture|Postmodernism]] - [[Sphinx Hill, Oxfordshire|Sphinx Hill]], [[Moulsford]], UK, by [[John Outram]], 1999
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==== Hieroglyphics ====
Many notable works in Britain featured attempts by architects to translate and depict messages in [[Egyptian hieroglyphs]].<ref name=":1">{{Cite journal|last=Elliot|first=Chris|date=2013|title=Compositions in Egyptian Hierogylphs in Nineteenth Century England|journal=The Journal of Egyptian Archaeology|volume=99|pages=171–189|doi=10.1177/030751331309900108 |s2cid=193273948 }}</ref> Although sincere attempts at compositions, understanding of hieroglyphic syntax and semantics has advanced since they were built and errors have been discovered in many of these works. Although both public and private buildings were built in Britain in the Egyptian Revival style, the vast majority of those with attempts at accurate inscriptions were public works or on entrances to public buildings.<ref name=":1" />

In 1824, French classical scholar and egyptologist [[Jean-François Champollion]] published ''Precis du systeme hieroglyphique des anciens Egyptiens'' in 1824, which spurred the first notable attempts to decipher the hieroglyphic language in Britain.<ref name=":1" /> [[Joseph Bonomi the Younger]]'s inscriptions in the entrance lodges to [[Abney Park Cemetery]] in 1840 was the first real recorded attempt to compose a legible text. An Egyptologist himself, Bonomi and other scholars such as [[Samuel Birch (Egyptologist)|Samuel Birch]], [[Samuel Sharpe (scholar)|Samuel Sharpe]], William Osburne, and others<ref name=":1" /> would compose texts for a variety of other British projects throughout the nineteenth century including [[Temple Works|Marshall's Mill]] in Leeds, an [[aedicula]] in the grounds of [[Hartwell House, Buckinghamshire]], and as part of an Egyptian exhibition in [[The Crystal Palace]] after it was re-erected in southeast London.<ref name=":1" />

The content of the inscriptions varied depending on the nature of their specific projects. The Crystal Palace exhibition features several different inscriptions, with the main inscription detailing the construction and content of the hall and proclaiming it as an educational asset to the community. It ends with a message to invoke good fortune, translated as 'let it be prosperous.<ref name=":1" />' Other smaller inscriptions on the cornice of the exhibit entrance feature the names of the builders and a message in Greek wishing for the health and well-being of [[Queen Victoria]] and [[Prince Albert Victor, Duke of Clarence and Avondale|Prince Albert]],<ref name=":1" /> members of the royal family. The main inscription is accompanied by an English translation, with the characters spaced to match the position of the English words. However, Chris Elliot notes that the translation overly relies on phonetic transliteration and features some unusual characters for words that were difficult to translate into hieroglyphs.<ref name=":1" />