| For some it was mass movement against frivolity of | | | | rectangular, even open windows consisted with |
| baroque and rococo, for other excavation of | | | | architraves springing the arch, supported by two |
| Herculaneum and Pompeii was an inspiration as much | | | | columns each, rusticated arcades, blocked surrounded |
| as European publications about ancient world such as | | | | windows or doors, pedimented with keystones in |
| ‘The Ruins of Palmyra’ and ‘The Ruins of | | | | central were common. It was the time in which |
| Baalbek’ written by J. Dawkins and R. Wood or | | | | baroque was still obligatory style in Europe with its |
| ‘The Antiquities of Athens’ by Stuart and | | | | muscular facades because of King’s glory. |
| Revett, for example, or perhaps establishment new | | | | First European phase of Neoclassicism comes from |
| republics of France or America, for which universal, | | | | France again, where young students of Academie |
| classical and intellectual model of rules was required? | | | | Royale d’Architecture and L’Ecole des Arts |
| There is no synonymous answer but social, political as | | | | were trained at the Academie de France in Rome as |
| cultural complexity of 18th century in particular | | | | well, influenced by artist and communicator |
| countries had a reflection in main motivations of | | | | Charles-Louisa Clerisseau and German antiquarian |
| neoclassical movement and next varieties of | | | | scholar Joachima Winckelmana, after ruin of |
| neo-classical style. | | | | Herculaneum and Pompeii were discovered. Most of |
| Neoclassicism was present in each kind of art or | | | | artists include architects travelling to Rome and other |
| human activity on material and intellectual level, but one | | | | ancient places in Italy. In neighbourhoods classical ruin |
| the most spectacular discipline was architecture. First | | | | of temples or villas, they were studying ideas of |
| of all, because ancient Roman and Greek buildings | | | | antique world and uncovering orders in ancient |
| were a sources of discovering classical form of ideal, | | | | architecture. First, French theorist and next architects |
| harmony and purity of contemporary artist. Secondly, | | | | developed the classical principle used by ancient |
| because of development of wealth of modern Europe | | | | masters known as primitive hut. It was simple structure |
| with growing consciousness of their citizens in | | | | in which horizontal lintels were supported by vertical |
| ‘NEW’ countries in the whole world with new | | | | elements – columns. On top the lintels, sloping pieces |
| politicians visions, demanding many new types of public | | | | were formed the roof in pediment shape. Part of |
| buildings as town halls, offices, governments buildings, | | | | section of ‘primitive hut’ extended consisted |
| academic institutions, museums and also ‘new’ | | | | architrave, frieze and cornice composed entablature |
| type of private objects like villas. As we could see, | | | | which was even essential for ancient buildings. Just, this |
| ancient world was not only inspiration for artists. It was | | | | section of ancient buildings used by neoclassical |
| also a great example for big ideas of NEW WORLD. | | | | architects, was totally different from baroque |
| After, over one hundred years of French domination | | | | constructions. Columns in neoclassicism were used as |
| over entire Europe, where despotism was a rule, start | | | | construction elements of porticos, porticoes fronts as |
| of 18th century brought great social, political, cultural and | | | | part of entablatures with decorative friezes or as a |
| industrial changes for Europe and further. Classical | | | | part of windows or doors to compare in baroque |
| ideas of purity and harmony, restrain and idealism | | | | version in which it was only decorative element used |
| were ideal match up for demanding intellectual | | | | for impression. Other important elements were |
| independent and enlightened people. Mostly, to describe | | | | pediments and friezes, finished in carvings, classical |
| neoclassical movement in Europe we accept 1750 | | | | key patterns or innovative by particular architects with |
| year as a beginning, but to discuss at least architecture | | | | his own pattern-elements as medallions, scrolling |
| it is necessary to move back nearly 40 years earlier | | | | patterns, abacus, and circular wreaths of flowers. |
| to England, where architect Lord Burlington was | | | | Sometimes reliefs were depending on type of building |
| studying Palladio’s plans, where in 1715 C. | | | | or particular purpose of commissioners (industrialists, |
| Campbell’s publication ‘Vitruvius Britannicus’ | | | | bankers, academics or governments institutions) could |
| and G. Leoni’s edition of Palladio’s ‘Four | | | | be named as ‘new patronages’ next to still |
| Books’ determined English and later European | | | | existed royal’s or pope’s. |
| architecture forever. Palladio’s and others’ 17th | | | | As main type of baroque buildings were palaces, |
| century architects such as I. Jones ideas were | | | | chateaus and hotels with heavy ornamented facades, |
| reflected in works of architects like Lord Burlington, | | | | distortion renaissance classical motifs created for glory, |
| who collaborated with William Kent, Colen Campbell | | | | reflected dynamism, got up anxiety, in Neoclassicism, |
| and later Robert Adam who was connected with | | | | villas, town halls, museums or other educational buildings |
| main-stream of Neoclassicism. Palladio’s ‘Villa | | | | were created with restrain, put main emphasis for |
| Rotonda’ was a great inspiration for Burlington’s | | | | nobility and taste. Friezes and roofs were finishes with |
| architecture and others. It represents pure style, | | | | balustrades, statues of humans and creatures or other |
| symmetrical plan, domed central hall, four porticos | | | | very common shape of vase. Most popular order of |
| entrances with pediments supported by 6 Ionic | | | | column was Ionic but Doric, Corinthian or mixed were |
| columns each, completed with 3 statues on the top. | | | | also used. Neoclassical interiors reflected same |
| Similar ideas of clarity, restrain and great taste could | | | | classical ideas of beauty and purity as ancient interiors |
| be recognised in works like Burlington House or | | | | but with new demand for comfort, development of |
| Chiswick House Villa of Lord Burlington’s, | | | | civilization and personal interests. Similar like outside, |
| Mereworth Castle and Wanstead House of Colen | | | | inside the main elements were columns and number of |
| Campbell. Main principles were harmony and classical | | | | sculptures which were situated on pedestals or in |
| proportion, lightness of facades and symmetry. Typical | | | | niches. |
| elements were rustication of made facades, smooth | | | | Richness of most comfortable furniture, exclusive |
| and roughly textured with impression of solidity, | | | | porcelain homewares from Sevres or Wedgwood |
| porticos, and roof balustrades, in most cases, finishes | | | | manufactures, strong coloured walls always tastefully |
| by statues. Facades were created with mathematical | | | | painted and ornamented ceilings were not only |
| precision, with great taste, always divided | | | | characteristics of neoclassical interiors but were also |
| symmetrically by Ionic or Doric columns or pilasters. | | | | masterpieces designed and created by neoclassical |
| ‘Palladian windows’ in which arched opening | | | | masters. |
| part in centre was extended by two smaller | | | | |