Editing Greek Revival architecture (section)

==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]].