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ECLECTIC RIVALS
Posted Date: 22 May 2008 Resource Type: Articles/Knowledge Sharing Category: Travel & Tourism
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Posted By: TULASI KRISHNA Member Level: Gold
Rating:  Points: 2
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In the late 18th century, the Baroque, the Rococo, and neo-Palladianism fell from favour. Patrons and designers turned instead to genuine Greek and Roman prototypes. Selective borrowing from another time and place became fashionable. The preoccupation with ancient Greece was particularly strong in the young United States from the early years of the 19th century until about 1850. New settlements were given Greek names—Syracuse, Ithaca, Troy—and Doric and Ionic columns, entablatures, and pediments, mostly transmuted into white-painted wood, were applied to public buildings and important town houses in the style called Greek Revival.
In France, the imperial cult of Napoleon steered architecture in a more Roman direction, as seen in the church of La Madeleine (1807-1842), a huge Roman temple in Paris. French architectural thought had been jolted at the turn of the century by the highly imaginative published projects of Étienne-Louis Boullée and Claude Nicholas Ledoux. These men were inspired by the massive aspects of Egyptian and Roman work, but their monumental (and often impractical) compositions were innovative, and they are admired today as visionary architects.
The most original architect in England at the time was Sir John Soane; the museum he built (1812-1813) as his own London house still excites astonishment for its inventive romantic virtuosity. Late English Neo-Classicism came to be seen as élitist; thus, for the new Houses of Parliament the authorities insisted on Gothic or Tudor Revival. The appointed architect, Sir Charles Barry called into consultation A. W. N. Pugin, champion of the Gothic Revival. Pugin took responsibility for the details of this vast monument (begun 1836). In a short and contentious career, he made a moral issue out of a return to the Gothic style. Other architects, however, felt free to select whatever elements from past cultures best fitted their projects—Gothic for Protestant churches, Baroque for Roman Catholic churches, early Greek for banks, Palladian for institutions, early Renaissance for libraries, and Egyptian for cemeteries
In the second half of the 19th century developments brought about by the Industrial Revolution became overwhelming. Many were shocked by the sprawling and unsightly urban districts that resulted from the proliferation of factories and workers’ housing and by the deterioration of taste among the newly rich. For all that architects were employed on the construction of canals, tunnels, bridges, and railway stations—the new modes of transport at the time—they contributed only a veneer of culture.
The Crystal Palace (1850-1851; reconstructed 1852-1854) in London, a vast but ephemeral exhibition hall, was the work of Sir Joseph Paxton, a man who had learned how to put iron and glass together in the design of large greenhouses. It demonstrated a hitherto undreamed-of kind of spatial beauty, and in its carefully planned building process, which included prefabricated standard parts, it foreshadowed industrialized building and the widespread use of cast iron and steel.
Also important in its innovative use of metal was the great tower (1887-1889) of Alexandre Gustave Eiffel in Paris. In general, however, the most gifted architects of the time sought escape from their increasingly industrialized environment by further development of traditional themes and eclectic styles. Two contrasting but equally brilliantly conceived examples are Charles Garnier’s sumptuous Paris Opéra (1861-1875) and Henry Hobson Richardson’s grandiose Trinity Church (1872-1877) in Boston.
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