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Neoclassical Style Guide

A revival style that looks back to the Classical past and the architecture of ancient Greece and Rome, but unlike the re-interpretation of classical forms seen in the Renaissance, this was a much more academic approach. It began in France from the mid-18th century, with writers and architects theorising over the supremacy of ancient Greece versus ancient Rome, following the rediscovery of the Parthenon and the excavations at Herculaneum and Pompeii. For example, artists Charles-Nicholas Cochin and Jerome-Charles Bellicard published their, ‘Observations sur les antiquities de la ville d’Herculaneum’ from 1753. The same year Abbé Marc-Antoine Laugier, a French Jesuit published his, ‘Essai sur L’Architecture’, which set out to define Classicism as a logical need for shelter, illustrating his interpretation of the origin of the stone temple as a ‘Primitive Hut’, formed out of tree trunks and branches fashioned into columns supporting a triangular shaped roof. In 1762 architects James Stuart and Nicholas Revett, published their Antiquities of Athens’, which was hugely influential in promoting Neo-Classicism in England.

It marked a return to simplicity and an architecture of pure geometrical form, favouring, clarity, proportion, and symmetry. The correct use of the orders from the ancient world, i.e. Doric, Ionic and Corinthian columns as structural, rather than decorative was also encouraged. Characterised by severity of appearance and solidity, Neo-classicism dominated much of European and American architecture until the emergence of the Gothic Revival from the late 1830s.

Features of a Neo-Classical building

  • Purity of form

  • Use of the Orders

  • Symmetry and Proportion

  • References to Classical architecture

Explore these galleries from the RIBA Collections illustrating the main features of Neoclassical Architecture

For further reading on the Gothic Revival below is a selection of books from the British Architectural Library on the subject:

  • Neoclassicism by David Irwin. Library Reference: 7.034(4).8/.88 // IRW
  • The neoclassical source book by Caroline Clifton-Mogg. Library Reference: 729.098.034.8/.88 // CLI
  • English neo-classical architecture by Damie Stillman. Library Reference: 72.034(42).8/.88 // STI
  • Neoclassical and 19th century architecture by Robin Middleton and David Watkin. Library Reference: 72.034(4).8 // MID
  • The Greek Revival: neo-classical attitude in British architecture 1760-1870 by Jan Mordaunt Crook. Library Reference: 72.036.3(41/42) // CRO
  • Neo-classicism by Hugh Honour. Library Reference: 7.034.8/.88 // HON

Style Guide written by Suzanne Waters

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Blaise Castle House, near Bristol

RIBA72268
Cockerell, Charles Robert (1788-1863)
NOTES: The house was designed by William Paty for J. S. Harford from 1795-9 and later extended by C. R. Cockerell in 1832. It is set within a landscape designed by Humphry Repton.

Dodington Park, Gloucestershire: the summer house

RIBA72274
Wyatt, James (1746-1813)
NOTES: Dodington Park was begun in 1796 but not completed until after the architect's death.

Dodington Park, Gloucestershire: the Sodbury entrance and lodge from within the park

RIBA72275
Wyatt, James (1746-1813)
NOTES: Dodington Park was begun in 1796 but not completed until after the architect's death.

Sundridge Park, Bromley, London: detail of decorative plasterwork

RIBA74187
Nash, John (1752-1835)
NOTES: Samuel Wyatt was responsible for the design of the interiors.

Archway at Somerset House, Strand, London

RIBA77837
Chambers, Sir William (1723-1796)

6 Charlotte Square, New Town, Edinburgh

RIBA81106
Adam, Robert (1728-1792)
NOTES: Edinburgh Town Council invited Robert Adam to design Charlotte Square in 1791.Only the north side of the Square was finished before his death in 1792.

Designs for a church for Thomas Johnes, Esq.: plan

RIBA82418
Hardwick, Thomas (1752-1829)
NOTES: This drawing comes from an album entitled by Thomas Hardwick 'Sketches of sundry buildings already executed and original designs on varied subjects', which he commenced in 1773. Thomas Johnes inherited the Hafod Estate in Dyfed in 1780 and developed the house and estate, creating a famous picturesque landscape. This design is probably for that estate.

Designs for St Mary the Virgin, Wanstead, London: ground floor plan

RIBA82421
Hardwick, Thomas (1752-1829)
NOTES: This drawing comes from an album entitled by Thomas Hardwick 'Sketches of sundry buildings already executed and original designs on varied subjects', which he commenced in 1773. Hardwick exhibited a drawing 'Elevation of the new church at Wanstead, Essex' at the Royal Academy of Arts, London, in 1791 (no. 487).

Designs for St Mary the Virgin, Wanstead, London: elevation of the west front

RIBA82423
Hardwick, Thomas (1752-1829)
NOTES: This drawing comes from an album entitled by Thomas Hardwick 'Sketches of sundry buildings already executed and original designs on varied subjects', which he commenced in 1773. Hardwick exhibited a drawing 'Elevation of the new church at Wanstead, Essex' at the Royal Academy of Arts, London, in 1791 (no. 487).

General Post Office, O'Connell Street, Dublin

RIBA93803
Johnston, Francis (1760-1829)
NOTES: The General Post Office was remodelled in 1905-1915 by Pentland and rebuilt 1924-1929, after the 1916 Easter Rising by the Office of Public Building and Works.

St Mary's Roman Catholic Church, Pope's Quay, Cork

RIBA93804
Deane & Woodward
NOTES: The church was built 1832-1839, although the portico was not added until 1861 by Deane and Woodward. They omitted the flanking towers and dome over the crossing that was originally intended. Kearns Deane was the brother of Thomas Deane of Deane & Woodward.

Designs for Sandling House, Kent, for William Deedes Esq: perspective from the south-west

RIBA96337
Bonomi, Joseph (1739-1808)
NOTES: Sandling House, near Hythe, was the most austere of all Bonomi's small country houses. Damaged by a bomb during the Second World War it was demolished in 1945-1946. The unusual relationship of the house and household offices, with a porte-cochere connecting the two parts of the building, is typical of Bonomi and can be seen in his design for Laverstoke House (see RIBA96283 and RIBA96285). This drawing was exhibited at the Royal Academy of Arts, London, in 1799 (no.1019).

Unexecuted designs for interior decoration of a country house, Burley-on-the-Hill, Rutland, for the 8th Earl of Winchelsea: details of the cornice for the drawing room

RIBA97177
Bonomi, Joseph (1739-1808)
NOTES: Bonomi's designs are for a series of three rooms (drawing room, book room and saloon) disposed along the south front of the house, to the east of the dining room of circa 1770.

Unexecuted designs for interior decoration of a country house, Burley-on-the-Hill, Rutland, for the 8th Earl of Winchelsea: plan of the book room

RIBA98298
Bonomi, Joseph (1739-1808)
NOTES: Bonomi's designs are for a series of three rooms (drawing room, book room and saloon) disposed along the south front of the house, to the east of the dining room of circa 1770.

Porte Desilles, Nancy

RIBA101982
Melin, Didier-Francois-Joseph

Pitzhanger Manor, Walpole Park, Ealing, London: the east facade

RIBA103274
Soane, Sir John (1753-1837)
NOTES: Pitzhanger Manor was owned by Soane from 1800 to 1810 during which time he radically rebuilt it. He demolished most of the existing building except the two-storey south wing built in 1768 by George Dance.

Pitzhanger Manor, Walpole Park, Ealing, London: the east facade seen from the entrance

RIBA103275
Soane, Sir John (1753-1837)
NOTES: Pitzhanger Manor was owned by Soane from 1800 to 1810 during which time he radically rebuilt it. He demolished most of the existing building except the two-storey south wing built in 1768 by George Dance.

Dulwich Picture Gallery, London: the mausoleum

RIBA103277
Soane, Sir John (1753-1837)

Dulwich Picture Gallery, London: the mausoleum

RIBA103281
Soane, Sir John (1753-1837)

Swiss Re, 30 St Mary Axe, City of London: the reception area

RIBA105244
Foster & Partners
NOTES: Known colloquially as The Gherkin.

Guildhall, Andover

RIBA108801
Langdon, John Harris (1777-1853)

Ruins of the chapel, Palais des Tuileries, Paris, after the Commune

RIBA111519
Percier, Charles (1764-1838)
NOTES: The chapel was located in the northern wing of the now demolished Palais des Tuileries and was constructed as part of the remodelling by Percier and Fontaine of the Louvre in 1806-1811 for Napoleon I. It was destroyed during the Paris Commune uprising 1871.

Albert Dock, Liverpool: the Dock Traffic Office

RIBA117019
Hardwick, Philip (1792-1870)
NOTES: The Tuscan style columns on the portico are made from cast iron, each column cast in two sections over 17 ft (5.2 metres) high, with the architrave a single casting. The Dock Traffic Office was designed by Philip Hardwick in 1848. Another storey (just seen) was added in 1849 by Hartley.

Newark Park, Ozleworth, Gloucestershire: the hall with apsidal ends

RIBA118618
Wyatt, James (1746-1813)
NOTES: Former hunting lodge enlarged to private house. Built circa 1550 for Sir Nicholas Poyntz of Iron Acton, reputedly with stone from the destroyed Kingswood Abbey. It was enlarged in the early 17th-century into an H-plan. Formed into a square and remodelled by James Wyatt in Gothick style probably in 1790s for the Reverend Lewis Clutterbuck, a service wing was added in 1897. The house was bequeathed to the National Trust in 1949 and restored from 1970-1984.

Chatham Dockyard: the main entrance to the Old Admiral's Offices

RIBA118967
Holl, Edward (d. 1824)
NOTES: Chatham Dockyard was established as a Royal Dockyard from 1567. It closed in 1984, but has a number of surviving historic structures ranging in date from the early 18th century to the early-mid 20th century. It is now managed as a visitor attraction.

Dulwich Picture Gallery, London

RIBA119068
Soane, Sir John (1753-1837)

Dulwich Picture Gallery, London: the Mausoleum

RIBA119084
Soane, Sir John (1753-1837)
NOTES: See RIBA119073 for a black and white version of this image.

Dulwich Picture Gallery, London

RIBA119087
Soane, Sir John (1753-1837)
NOTES: See RIBA119081 for a black and white version of this image.
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