Editing Egyptian Revival architecture (section)

===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
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