This seminar is about Classical architecture and its influence. The course deals with buildings constructed from 600 BC through AD 400 and from AD 1400-1940. The emphasis is on the influence of Greek and Roman architecture on the Renaissance through the Beaux Arts. For the first eight weeks, one week will be devoted to each of the following periods: Greek, Roman, Renaissance, Baroque, Neoclassical, Greek Revival, Italianate, and Beaux Arts. Assigned readings and local buildings will provide a basis for discussion. The emphasis will be on what is most characteristic of each period including style, building types, design principles, materials, and construction methods. Specific sources of design and specific examples of influence will be considered, and what the periods have in common will be summarized. During the second half of the course, each student will make a 20 to 30 minute presentation on any major building relating to the topic for the date assigned. This course will provide a framework for identifying and appreciating buildings of the Classic Tradition and will illustrate how architectural elements can be used as creatively and continuously as the vocabulary of any language.
Days and time: Tuesday
and Thursday, 10:50 A. M.-12:05 P. M.
Place: 12 Bull Street
Instructor: Gene Waddell
Method of instruction: seminar
Main topics to be discussed
in each class:
22 Aug. (Tues.)--Preliminary
meeting
Introductions
Course overview
E-reserve text and other required
reading
Topics assigned for presentations
Questions
Greek Architecture
24 Aug. (Thurs.)—Development of the Doric Order and design of the Parthenon (read chapter 1 in the e-reserve textbook and Vitruvius books 3 and 4 in advance for discussion in class)
Origin
Problems to be Solved
Hephestium (c. 448 B. C.)
Parthenon (447-438 B. C.)
29 Aug. (Tues.)—Greek Ionic Order (read chapter 2 of the e-text and Vitruvius book 1
before class)
Development
Temple of Athena Nike (c. 430 B. C.)
Erechtheum (421-407 B. C.)
Ionic in the Propylea (437-432)
Ionic vs. Doric
Interaxial vs. Intercolumniation
Temple of Apollo, Didyma (begun 313 B. C.)
31 Aug. (Thurs.)—Greek Corinthian Order (read chapter 3 of the e-text and
Vitruvius books 2 and 7 before class)
Origin
Temple of Apollo Epicurus, Bassae (begun c. 429)
Tholos Interiors
Temple of Athena Alea, Tegea (c. 360 B. C.)
Choragic Monument of Lyscrates (334 B. C.)
Tower of the Winds (c. 50-37 B. C.)
Temple of Zeus Olympius, Athens (c. 174 B. C.)
5 Sept. (Tues.)—Using the Orders for New Greek Building Types (read chapter 4 of the
e-text and Vitruvius books 5 and 6 before class)
Uses for the Orders
Stoa
Houses
Palestra
Stadium
Library
Theatre
Other Building Types
Design of the Arsenal at Pireus
Roman
Architecture
7 Sept. (Thurs.)—Roman temples and the Roman Orders (read chapter 5 of the e-text and
Palladio books 1 and 4 before class)
Roman Temples
Characteristics of the Typical Roman Temple
Types of Roman Temples
Roman Orders
Tuscan and Roman Doric Orders
Roman Ionic Order
Roman Corinthian Order
The Composite Order
Superposition
Standardization of the Orders
Using the Orders for Planning Buildlings
The Orders as Sculpture
12 Sept. (Tues.)—Design Methods for Basilicas (read chapter 6 of the e-text and Palladio
book 3, chapters 16-21 before class)
Design of the Vitruvius' Basilica at Fano
Basilicas in the Roman Forum
Basilica Ulpia (dedicated A. D. 112)
Comparison with Early Christian Basilicas
14 Sept. (Thurs.)—principles of arches, vaults, and domes; use of Roman concrete (read
chapters 7 and 8 of the e-text and Palladio book 3, chapters 1-15 before class)
Roman Engineering and Its Impact on Architecture
The Truss
The Arch
The Vault
The Dome
Concrete
Construction with Concrete
Aqueducts, Bridges, and Triumphal Arches
Aqueducts
Pont du Gard (c. A. D. 50)
Major Bridges in Rome
Triumphal Arches
Design of Triumphal Arches
19 Sept. (Tues.)—Roman Baths (read chapter 9 of the e-text and Vitruvius book 8 before
class)
Functions
Balnea
Trajan's Baths (A. D. 109)
Caracalla's Baths (A. D. 212-223)
Diocletian's Baths (A. D. 306)
21 Sept. (Thurs.)—Theatres and Related Building Types (read chapter 10 of the e-text
and Vitruvius book 9 before class)
Theatres
Amphitheatres
Colosseum
Stadiums
Circuses
26 Sept. (Tues.)—Roman Houses (read chapters 11 and 12 of the e-text before
class)
Urban Houses
Courtyard Houses
Samnite House, Herculaneum
Apartment Block (Insula)
Roman Villas and Palaces
Pliny's Laurentine Villa
The Art of Villas
Domus Aurea (A. D. 64-68)
Hadrian's Villa (A. D. c. 118-138)
Domitian's Palace (A. D. 80s-90s)
Diolcletian's Palace, Spalato (A. D. c. 300)
28 Sept. (Thurs.)—The Pantheon (read chaper 13 of the e-text before class)
Brief Description
General Sources of Design
Specific Design Sources
Proportions
Materials and Methods of Construction
Porticoes
Interior Finish
Diverging
Traditions
3 Oct. (Tues.)—Influence of the Classical Tradition on Medieval Styles (read
chapter 14 of the e-text and Vitruvius book 10 before class)
Romanesque
Gothic
Byzantine
Islamic
Conclusion
Renaissance Architecture (presentations begin)
5 Oct. (Thurs.)—Early Renaissance (read chapter 15 of the e-text before class)
Brunelleschi
Alberti
MID-TERM EXAM (45 minutes at the end of class)
10 Oct. (Tues.) Renaissance Palazzos and Villas (read chapter 16 of the e-text before
class)
Palazzo Medici
Other Early Florentine and Roman Palaces
Palazzo Massimo
Palazzo Farnese
Villa Farnesina
Villa Madama
12 Oct. (Thurs.) Palladio (read chapter 17 of the e-text and Palladio book 2 before class)
Four Books
Villa Foscari (1558-1561)
Other Types of Palladian Villas
Palazzo Valmarana
Il Redentore (designed 1576-1577)
17 Oct. (Tues.) Michelangelo and St. Peter’s (read chapters 18 and 19 of the
e-text before class)
Architectural Settings for Sculpture
Capitoline
St. Peter’s Basilica--195
Bramante's Design
Bramante's Assistants
Michelangelo's Church
19 Oct. (Thurs.) Italian Baroque and German Rococo (read chapter 20 of the e-text
before class)
The Baroque Plan of Rome
St. Peter's Renovation
Bernini
Borromini
Baroque Painted Ceilings
Baroque Public Spaces
Baroque Palazzos
German Rococo
Neoclassical
Architecture
24 Oct. (Tues.) French Baroque and Neoclassism (read chapter 21 of the e-text before
class)
De l'Orme
Mansart
Le Vau
Hardouin-Mansart
Gabriel
Soufflot
Gondoin
Early Ledoux
Early 19th Century French Architects
Influence of French Neoclassicism
16 Oct. (Thurs.) British Palladianism and the Adamesque Style (read chapters 22
and 23 of the e-text before class)
Inigo Jones
Christopher Wren
James Gibbs
The Country House
Row Houses and Squares
Adamesque Style
Origin
Influence
31 Oct. (Tues.) Architectural Monographs of the 17th and 18th Centuries (read
chapter 24 of the e-text before class)
Desgodetz
Laugier
LeRoy
Stuart and Revett
2 Nov. (Thurs.) Jefferson and American Neoclassicism (read chapter 25 of the e-text
before class)
Virginia Capitol (c. 1780, 1785-1788)
University of Virginia Library (1817-1822)
Houses
Influence
7 Nov. (Tues.)--no class; fall break
Greek
Revival Architecture
9 Nov. (Thurs)--Origins of the Greek Revival (read chapters 26 and 27 of the e-text
before class)
Ledoux
Late Ledoux
Piranesi's Influence on Ledoux
Ledoux's Direct Influence
Latrobe and the Beginning of the American Greek Revival
Bank of Pennsylvania (1789)
Baltimore Cathedral (1804-1818; 1821)
United States Capitol (1802-1809; 1815-1818)
Houses
Other Work
14 Nov. (Tues.)--Schinkel and the European Greek Revival (read chapter 28 of the e-text
before class)
Friedrich Gilly
New Guard House (1816-1818)
Theatre in Berlin (1819-1821)
Altes Museum (1824-1830)
Schinkel's Houses
Von Klenze
The Greek Revival Elsewhere in Europe
16 Nov. (Thurs.) The Greek Revival in the United States (read chapter 29 of the e-text
before class)
Mills
Strickland
Walter
Town & Davis
Reichardt
Other Major Buildings of the American Greek Revival
Lafever's Building Manuals
Beaux
Arts Architecture
21 Nov. (Tues.)--Professional Architectural Training (read chapter 30 of the e-text before
class)
Apprenticeship
Ēcole des Beaux Arts
23 Nov. (Thurs.); no class; Thanksgiving
28 Nov. (Tues)--European Beaux Arts (read chapter 31 of the e-text before class)
Libraries
Railroad Stations
Opera Houses
Government Buildings
Commercial Buildings
Paris Rowhouses
30 Nov. (Thurs.)--American Beaux Arts (read chapter 32 of the e-text before class)
Hunt
Richardson
Adler & Sullivan
McKim, Mead and White
12 Dec. (Thurs.)—FINAL EXAM—10:00-11:00 P. M.
Required reading:
(1) Vitruvius, Ten Books on Architecture (translated by Ingrid D. Rowland with commentary and illustrations by Thomas Noble Howe; 1999); needs to be read as soon as possible. This is one of the two most influential architecture books ever published.
(2) Palladio, Andrea; Four Books on Architecture (with the 1570 illustrations; translated by Robert Tavernor and Richard Schofield; 1997); needs to be read before the mid-term on 10 Oct.; includes many of the best representations of Roman buildings and important information on proportions and construction as well as Palladio’s own designs. This is the other of the two most influential architecture books ever published.
(3) "Classic Tradition in Architecture" by Gene Waddell (free e-reserve text with 32 chapters)
N. B. Vitruvius and Palladio have been ordered through the College Bookstore. Please be sure to bring these textbooks with you when you read parts of them in preparation for class. The illustrations in these books will be used for class discussion.
Grading: 25 percent each for the (1) mid-term exam, (2) final exam, (3) presentation, and (4) class attendance with participation. Extra credit will be given for extra effort.
Exams: Each of the two exams will consist of 50 multiple-choice questions about approximately 40 major buildings. As study guides, I will provide a set of the illustrations that will be on each exam at least a week beforehand. Having taken a course in architectural history previously, you should already know most of the building you will be responsible for.
The final exam will be primarily about buildings dating from the Renaissance through the Beaux Arts, but you will also need to know which ancient buildings had the greatest influence on specific later buildings as well as which later buildings influenced one another.
On both exams you will be asked questions which require you to understand the basic vocabulary of the Classic Tradition and to know the contents of the assigned reading. On each of the 40 major buildings, you need to be able to recognize an architect’s name, an approximate date (the century in which it was built will ordinarily suffice), which buildings had the most influence on which other buildings, and the place where buildings are located (usually a country will suffice, but you should know which buildings are located in Athens, Rome, and Paris). In addition, you will need to know what is characteristic of each period, style, and architect that has been the principle topic of a lecture.
Vocabulary needed: abacus, aisle, amphitheatre, antae, apse, aqueduct, arcade, arch, architrave, ashlar, attic, balustrade, barrel vault, base, basilica, bracket, cantilever, capital, cella, centering, coffer, colonnade, column, Composite, concrete, corbel, Corinthian, cornice, cross vault, cyma, dentil, diminution, dome, Doric, drum, echinus, enframement, engaged column, entablature, entasis, flutes, fornices, forum, frieze, gabled roof, guttae, hipped roof, hypocaust, Ionic, insula, interaxial, intercolumniation, krepis, limestone, lintel, marble, metope, modillion, module, monolith, Orders, monumental order, palazzo, pediment, pendentive, peristyle, piano nobile, parapet, pedestal, pier, pilaster, podium, portico, proportion, prostyle, rotunda, rustication, shaft, symmetry, termae, triglyph, triumphal arch, truss, Tuscan, villa, volute, voussoir.
Presentation: During the second half of the course, a student will make a presentation approximately 20 to 30 minutes long at the beginning of class. From the accompanying list, please select a building that relates to the class you are assigned, preferably a building you admire and want to learn more about. The presentation needs to be a comprehensive analysis of all aspects of the design and construction of a single building, and special emphasis should be given to how design sources were adapted. You need to demonstrate that you can apply what you have learned in this course and your ability to find and utilize reliable resources for research.
Some type of illustration should be provided for any points that would be difficult to make otherwise (handouts, drawings on a blackboard, slides, Powerpoint, video, etc., with each student providing any needed materials or equipment). Please note your main sources.
You should try to answer the following questions in your presentations:
(1) On Design:
--Who designed the building and when was it designed and constructed?
--Do any drawings, specifications, and building accounts survive?
--What were the functional requirements?
--What were the principle design sources and how were they used?
--Was the building constructed as designed?
--Did the architect change the design during construction?
--Does the building itself show evidence of change?
--Are early photographs or descriptions of the building available?
--Was the building equally well designed in all respects?
--How could it have been better designed?
(2) On Construction:
--What materials were used for the foundations, walls, and roof?
--What methods of construction were used?
--What structural principles were used?
--Was the building as well constructed as it was designed?
--How well has the building held up?
You will probably not find the answers to all questions, but you should try to answer as many as possible to determine how the building initially looked, why it was designed and constructed as it was, and how well it functioned. If you prefer, you can design a building of an assigned type, show the class how you designed it, and describe how it could best be constructed (taking the same questions into consideration). If you have difficulty finding information, please send me an email (waddelle@cofc.edu), ask questions after a class, or arrange for an appointment.
Attendance: Everyone who attends class regularly should not need to memorize any information to do well on exams and presentations. You must be present and participate to earn one point per class (up to a maximum of 25 points for 27 classes).
Principal goals:
-- to provide an outline of the development of the Classic Tradition with an emphasis on
what its periods have in common
-- to introduce the principal design approaches, building materials and techniques,
building types, and design elements
-- to enable students to recognize the most influential examples of the Classical Orders
--to furnish basic information about the key buildings of each period
-- to show the influence of periods, styles, and specific buildings on one another
-- to indicate what is most distinctive about each period and style
--to provide the basic vocabulary needed to discuss buildings of the Classic Tradition
--to facilitate identifying and appreciating buildings of the Classic Tradition
--to demonstrate how an architectural vocabulary can be adapted continually and
creatively
N. B.: These buildings were selected to provide the best examples of their type and style. The most influential buildings are marked with an asterisk. A large proportion of the buildings listed are standard examples, and illustrations can be found in surveys such as Key Monuments of the History of Architecture edited by Henry A. Millon with essays by Alfred Frazer (n. d.).
Most dates are from the Macmillan Encyclopedia of Architects, but dates for Greek buildings are usually from William Bell Dinsmoor’s Architecture of Ancient Greece (3rd ed.; 1950) and for Roman buildings from D. S. Robertson’s Handbook of Greek & Roman Architecture (2nd ed.; 1964). The dates in different sources often vary depending on whether they refer to when a building was designed, constructed, dedicated, completed, etc. Since buildings were often redesigned during construction, I have tried to find span dates that reflect the entire process of design and construction.
Greek
(Characterized by post-and-lintel stone construction; peripteral or amphiprostyle temples; low platforms for temples; broadly proportioned Doric columns or relatively thin Ionic columns; relatively simple Corinthian capitals; columns made up of separate segments; relatively small interior spaces; agoras; theatres built into hillsides; and extensive sculptural programs.)
c. 600 B. C.—Heraeum, Olympia (earliest known Doric temple; initially had wooden columns)
c. 560—Temple of Artemis, Ephesus, Turkey (principal early Ionic temple)
c. 500-485—Treasury of the Athenians, Delphi* (Doric; first building constructed entirely of marble; reconstructed from original blocks)
c. 490—Temple of Aphaia, Aegina (Doric; first systematic use of interaxials equivalent to the width of five triglyphs)
c. 490—Older Parthenon, Athens (Doric; planned to be entirely of marble; not completed, but parts reused for the Parthenon)
c. 470—Temple of Hera (Juno) Lacania; Agrigento, Italy (Doric; prototype of the Parthenon)
468-460—Temple of Zeus, Olympia; Libon of Elis, architect* (best proportioned Doric temple)
c. 460—Temple of Hera II (Poseidon/Neptune), Paestum, Italy (best preserved interior of a Greek Doric temple and one of the best proportioned and preserved exteriors)*
c. 448-442—Hephaisteion (Temple of Hephaistos; Theseum), Athens* (best preserved Doric temple; marble except from its lowest step)
447-438—Parthenon (originally the Temple of Athena Parthenos), Athens; Iktinos and Kallikrates, architects (first and largest fully marble temple of the Doric order; Iktinos and Carpion wrote a book on the Parthenon cited by Vitruvius.)*
437-432—Propylaia, Athens; Mnesicles,architect (Doric exterior, but with Ionic columns on the interior that have the earliest known Attic bases)
c. 430—Telesterion (Periclean), Eleusis; Iktinos, architect (Doric; not completed and largely destroyed; designed to be about 170 feet square with a roof supported by 20 columns to accommodate approximately 5,000 indoors; redesigned in the 4th Century with 42 columns supporting the roof; the largest ancient Greek interior space.)
c. 430—Temple on the Ilissos, Athens; attributed to Kallikrates (Ionic; largely destroyed)*
c. 429-427 (begun)—Temple of Apollo Epikourios, Bassae (near Phigalea); Iktinos, architect (Doric exterior, but engaged Ionic columns on the interior with one Corinthian capital in the center attributed to Kallimachos, who is said by Vitruvius to have invented the Corinthian order; completed c. 400.)
c. 425-423—Temple of Athena Nike, Athens; Kallikrates, architect (Ionic; reconstructed from original blocks)
c. 425-417—Athenian Temple of Apollo, Delos; attributed to Kallikrates (Doric; earliest known use of antae as if they were pilasters)
421-407—Erechtheion, Athens; attributed to Kallikrates (Ionic with Doric pilasters inside; earliest known use of pilasters)*
c. 400—Tholos, Delphi (round Doric temple that served as a model for others)
c. 365—Tholos (Thymele), Epidaurus; Polykleitos the Younger, architect (Doric columns were used on the exterior, but the Corinthian capitols of the interior were the first known to have used tendrils to connect acanthus leaves to the abacus, a detail which became standard.)
c. 360—Theatre, Epidaurus (Sanctuary of Asclepius); Polykleitos the Younger, architect (largest and best preserved Greek theatre with renown acoustics)*
c. 360—Temple of Athena Alea, Tegea; Scopas the Parian, architect and sculptor (Doric; engaged Corinthian columns on the open interior; some use of Ionic)
c. 356—Temple of Artemis, Ephesus (c. 560; burned 356 and rebuilt for the fifth time; Paionios of Ephesos and Demetrios, architects (Ionic; one of the seven wonders of the world; almost wholly destroyed)
c. 354 (begun)—Mausoleum, Helicarnasus, Turkey; Pytheos and Satyros (probably Ionic; one of the seven wonders of the world; almost wholly destroyed)
340-330—Arsenal, Piraeus; Philo of Eleusis, architect (destroyed; surviving specifications provide important evidence for how Greek buildings were designed)
334 (dedicated)—Temple of Athena Polias, Priene, Turkey; Pytheos, architect (Ionic; published and intended to be canonical; dedicated by Alexander the Great)
334—Choregic Monument of Lysicrates, Athens (earliest known used of a Corinthian column on the exterior of a building; influential example of the Greek Corinthian order)*
319—Choragic Monument of Thrasyllus, Athens (influenced Schinkel’s adjacent rows of windows; wreathes in frieze)*
313 (begun)—Temple of Apollo Didymaios, Didyma, Turkey; Paeonius of Ephesus and Daphnis of Miletos, architects* (Ionic; uncompleted; construction stopped in c. A. D. 41).
c. 270—Pharos of Alexandria; Sostratos of Knodos, architect (lighthouse 440 feet tall—equivalent to a 44-story building; one of the wonders of the world; destroyed by an earthquake in c. 1375)
c. 220-205—Temple of Dionysos, Teos; Hermogenes, architect (His published account of this and another building was used by Vitruvius and continued to be influential even though it did not survive. This temple was probably intended to be Doric, but changed to Ionic so that all its columns could be evenly spaced. Its inner colonnade was omitted [psuedodipteral] rather than the usual double colonnade for Ionic temples [dipteral], and its columns were given nearly eustyle spacing [2.25 lower diameters between columns or 2/9].)
180-170—Altar of Zeus, Pergamum, Turkey* (primarily significant for its extensive use of architectural sculpture)
c. 170—Olympieion, Athens (planned as a Doric temple and changed to Corinthian; in 86 B. C., some Corinthian columns were taken to Rome, where they had a determining influence on the Roman Corinthian Order; completed by Hadrian in c. A. D. 120); Cossutius, architect*
c. 50-37—Tower of the Winds (Horologium of Andronicus), Athens; Andronikos of Kyrrhos, architect (simplified Greek Corinthian much used during the Greek Revival)*
Roman (using the Corinthian Order unless noted otherwise)
(Characterized by arches, vaults, and domes; the use of concrete; the prostyle temple with a podium; an increasingly decorative use of the orders [particularly by columns flanking arches]; monolithic columns (especially of granite); extensive use of stone veneers; free-standing theatres and amphitheatres; cross-axial plans; the forum; and new building types such as termae, basilicas, villas, apartment blocks, rotundas, and triumphal arches.)
c. 80—Temple of Vesta, Tivoli (tholos; one of the earliest surviving examples of Roman Corinthian)*
c. 80—Amphitheatre, Pompeii (elliptical; partly subterranean; earliest surviving amphitheatre)
78 B. C.—Tabularium, Rome (Doric; earliest know example of fornices [columns flanking arches], a much used design element in Roman architecture)*
c. 40?—Temple of Fortuna Virilis, Rome (best preserved Roman Ionic temple)*
c. 40?—Villa of the Papyrii, Herculaneum (Ercolano; partially excavated)
31—Circus Maximus, Rome (largest structure in Rome)
28—Mausoleum of Augustus, Rome (based on the design of Etruscan tombs)
19 (begun)—Maison Carrée, Nîmes, France; Nemausus, architect (best preserved Roman Corinthian temple)*
13—Theatre of Marcellus, Rome (Doric and Ionic; superimposed orders)*
2 B. C.—Temple of Mars Ultor, Forum of Augustus, Rome* (built against a wall; major example of the Corinthian temple)
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A. D. 6—Temple of Castor and Pollux, Rome* (influential Corinthian Order)
c. 27—Basilica designed for Fano, Italy; Vitruvius, architect (destroyed, but the most complete specifications for any Roman building provide important evidence for how Roman buildings were designed); c. 27 is also the approximate date for the publication of Vitruvius’ Ten Books
c. 50—Theatre, Orange, France (one of the largest and best preserved Roman theatres)*
c. 50—House of the Vettii, Pompeii (major example of an urban courtyard house)
c. 50?—Temple of Mercury, Baiae (domed building of concrete about 71 feet in diameter; generally dated Julio-Claudian and sometimes dated the the late 1st Cen. BC; the earliest major dome; intact)
64-68—Domus Aurea (Golden House; Nero’s Palace), Rome; Severus and Celer, architects (concrete, octagonal dome with clearstoried lighting in reverse)*
c. 75-82—Colosseum, Rome (Doric, Ionic, and Corinthian; superimposed orders)*
c. 81—Arch of Titus, Rome (earliest dated use of the Composite Order)
c. 90—Stadium of Domitian, Rome (rebuilt as the Piazza Navonna)
80s and 90s—Domus Flavia (Domitian’s Palace), Palatine, Rome; Rabirius, architect (the first building to be called a palace)
c. 100—Tomb of the Khasne, Petra (a temple-front cut into the face of sandstone cliffs)
109 (opened)—Trajan’s Baths, Rome, Apollodorus, architect* (the earliest surviving example of an imperial bath; influenced the plan of all later imperial baths in Rome; ruins)
112 (dedicated)—Trajan’s Forum (including the Basilica Ulpia, Trajan’s Column,* and Trajan’s Markets*); Apollodorus, architect (the largest and most lavish of Roman fora)
115—Arch of Trajan, Ancona (major example of a triumphal arch)
c. 118-138—Hadrian’s Villa, Tivoli; attributed to Hadrian (most notably the Canopus,* Teatro Marittimo,* and Small Baths; most extensive estate built for a Roman emperor; influential plans and design details)
c. 120—Library of Hadrian, Athens*(the most significant Roman building constructed in Greece; exterior largely intact)
c. 126 (begun)—Pantheon, Rome; attributed to Hadrian* (For its dome and attached portico, this is the most influential building ever created; it achieved the widest span for about 1,800 years; its dome is the most important example of Roman concrete construction; it is the best designed and best preserved Roman building.)
c. 150—House of Diana, Ostia (multi-storied apartment building of brick-faced concrete with cantilevered balcony)*
135—Temple of Venus and Rome, Rome; Hadrian, architect (largest temple in Rome, but largely destroyed by fire; rebuilt in 307-312; ruins)
c. 135—Mausoleum of Hadrian* (with adjacent bridge across the Tiber*), Rome; attributed to Hadrian (one of the largest structures built by Romans; renovated as the Castle St. Angelo)
161-180—Theatre, Aspendos; Zeno, architect (best preserved Roman theatre)
c. 200—Temple of Bacchus (completed; begun c. 100), Baalbek (Lebanon; best preserved interior of a Roman temple)*
c. 200—Portico of Octavia, Rome (rebuilt by Septimius Severus; influential for its columns in antis)*
203—Arch of Septimius Severus, Rome* (major example of a triumphal arch)
212-223—Caracalla’s Baths, Rome* (one of the largest imperial baths ever created)
c. 300—Diocletian’s Palace, Split (Croatia)* (fortified palace; plan influenced Robert Adam)
c. 300—Basilica, Trier (exceptionally large and well preserved imperial hall)
306—Diocletian’s Baths, Rome* (best preserved of imperial baths)
307-312—Temple of Venus and Rome (rebuilt by Maxentius on Hadrian’s podium)*
310-313; c. 320—Basilica Nova, Rome* (largest vaulted basilica; adapted the plan of the hall of a Roman bath; influenced numerous Christian basilicas)
Romanesque:
(Characterized by churches of the basilica type; barrel vaults; construction with a stone facing and rubble core; more vertical proportions; pier buttresses; arches resting directly on columns; small, round-headed windows; generally plain interiors and exteriors with little sculpture except for column capitals and entrances; highly stylized sculpture.)
c. 530—Tomb of Theodoric, Ravenna (monolithic dome)
c. 530-549--San Apollinare in Classe (near Ravenna; well preserved early Christian church with outstanding Byzantine mosaics)
c. 1068-1120—St. Ētienne (Abbaye-aux-Hommes), Caen (France; major example of Romanesque, particularly of the form exported to Britain by the Normans)
c. 1080-1128—San Ambrogio, Milan (influential example of Romanesque)
1093-1133—Durham Cathedral, Durham (a principle examples of Romanesque)
c. 1120—St-Front (Cathedral), Périgueux (France; major example of a domed Romanesque church)
(Characterized by the pointed arch and vault; extensive use of stained glass; flying butresses; otherwise very similar to Romanesque, but with increasingly realistic sculpture.)
1140-1144—Ambulatory of the Abbey Church, St. Denis (near Paris; where the Gothic style was created; earliest known use of the pointed vault; major early examples of stained glass; its nave is an important example of fully developed Gothic)
c. 1163-1250—Notre Dame, Paris (a principle example of the Gothic cathedral; outstanding stained glass)
Byzantine:
(Characterized by domes supported on pendentives; wall surfaces covered with mosaics; centralized plans; few and small round-headed windows.)
532-537--Hagia Sophia, Constantinople (Istanbul); Anthemios of Tralles with Isidoros of Miletus, architects (dome colapsed in 558; replaced with a higher dome by Isidoros the Younger in 563; the building which created the Byzantine style of architecture)
c. 1063-1073—S. Mark’s, Venice (the principal Italian version of Byzantine style)
(Characterized by Byzantine plans and design elements; glazed tiles with abstract, geometric, and floral designs; the mirhab; symmetrically placed prayer towers; and Arabic calligraphy.)
688 (begun)—Dome of the Rock, Jerusalem (essentially Byzantine, but the earliest surviving example of Islamic architecture and a highly influential one)
1630-1653—Taj Mahal, Agra; Ustad Ahmad of Lahore, architect (a principle Islamic building)
(The 19th Century revival of the Romanesque style applied to contemporary building types including public buildings and houses as well as churches. Often heavily rusticated.)
1883-1888—Allegheny County Courthouse and Jail, Pittsburgh, Henry Hobson Richardson, architect (adapted the Romanesque style for modern building types)
1885-1887—Marshall Field Wholesale Store, Chicago; Henry Hobson Richardson, architect (Romanesque palazzo adapted for commercial use; greatly influenced the aesthetics of the first skyscrapers)
1888-1889—Windsor Station, Montreal; Bruce Price, architect (major example of the Romanesque Revival)
(Characterized by rooms with classical proportions and cornices; palazzos; the use of the porticos on houses; numerous small piazzas; stucco or plaster walls subdivided by pilasters; relatively attenuated and flattened design elements; entablature blocks supporting arches; increased number and size of windows; classical window and door enframements; the incorporation of realistic frescoes with perspective.)
c. 1418; 1421-1460—San Lorenzo, Florence; Filippo Brunelleschi, architect (the earliest major building of the Renaissance; adapted Roman Corinthian and the Roman basilica)
1419—Foundling Hospital (Ospedale degli Innocenti), Florence; Filippo Brunelleschi, architect (one of the earliest monuments of the Renaissance)
1420-1426—Dome of Santa Maria del Fiore (Duomo), Florence; Filippo Brunelleschi and Lorenzo Ghiberti, architects* (first attempt to surpass the span of the Pantheon, but with a pointed dome divided into segments rather than a hemispherical dome and not quite as large a span)
1444-1459—Palazzo Medici, Florence; Michelozzo di Bartolomeo, architect (enlarged using the same design; highly influential palazzo design based on the rusticated wall behind the Forum of Augustus)*
1470-1472—Sant’Andrea, Mantua; Leone Battista Alberti, architect (completed 1481; influential plan based on the Basilica Nova)*
1465-1482—Palazzo Ducale, Urbino; Luciano Laurana (1465-1472), Francesco di Giorgio Martini, architect (1476-1482), et al. (major Renaissance palace; influential decorative details)
c. 1505?—Cancelleria, Rome; attributed to Bramante and others (one of the earliest and most influential Roman palazzos; incorporates a renovated Medieval church, San Lorenzo in Damaso; initial construction may have begin as early as c. 1485; door enframements added by Domenico Fontana in 1589)*
1504—Tempietto; San Piedro in Montorio, Rome; Donato Bramante, architect* (by Palladio’s standards, the first building in the Renaissance to equal ancient Roman architecture; influence the dome of St. Peter’s)
1504—Cloister of Santa Maria della Pace, Rome; Donato Bramante, architect (major early Renaissance attempt to solve the problems of designing a courtyard using a classical vocabulary)
1505-1511—Villa Farnesina, Rome; Baldassare Peruzzi, architect* (highly influential villa design; famous for its architectural use of frescoes that were designed principally by Raphael)
1505-1506—St. Peter’s Basilica, Rome; Donato Bramante, architect of the initial plan used for foundations and overall form (but his design was greatly altered by Michelangelo)
1515?-1546—Palazzo Farnese, Rome; Antonio da Sangallo the Younger (barrel-vaulted entrance), Michelangelo Buonarotti, architects (upper story of courtyard), et al.
1518—Villa Madama, Rome; Raphael, architect (Raffaello Sanzio; partially completed; even the portion completed makes this the finest of Roman villas)*
1520-1534—Medici Chapel, Florence; Michelangelo Buonarotti, architect and sculptor (partially completed; one of the most integral uses of sculpture in architecture; dome based on the Pantheon)
1524-1534—Laurentian Library (Biblioteca Laurenziana), Florence; Michelangelo Buonarotti, architect (completed 1571; the principal Renaissance library building designed for the Medici’s collection of manuscripts)*
1533-1536—Palazzo Massimi alle Colonne, Rome; Baldassare Peruzzi, architect (completed after 1536; Rome’s finest Renaissance palazzo)*
1539-1564—Capitol (Campidoglio), Rome; Michelangelo Buonarotti, architect* (existing buildings entirely redesigned as a city hall for Rome and as the first public museum; highly influential design details)
1542-1558—Palazzo Thiene, Vicenza; Andrea Palladio, architect* (one of Palladio’s most influential palazzo designs)
1546-1564—St. Peter’s Basilica, Rome (Vatican); Michelangelo Buonarotti, architect (dome completed 1590; his façade was not built; one of the most influential building ever created)*
1547-1552—Palazzo Giuseppe Porto, Vicenza; Andrea Palladio, architect* (one of Palladio’s most influential palazzo designs)
c. 1549-1553—Villa Foscari (Malcontenta), Gambarare; Andrea Palladio, architect* (one of Palladio’s most influential villa designs, particularly for its monumental portico on a podium)
1552/53-1555—Villa Pisani, Montagnana; Andrea Palladio, architect *(one of Palladio’s most influential villa designs)
1564-1570—Central pavilion, Tuileries, Paris; Philibert Delome, architect (Before its destruction, it greatly influenced French Renaissance architecture.)
1565/66-1569—Villa Rotonda (Almerico-Capra), Vicenza; Andrea Palladio, architect (completed after 1580; the most influential of Palladio’s villa designs for its monumental porticoes and central dome)*
1565/66-1571—Palazzo Valmarana, Vicenza; Andrea Palladio, architect* (one of Palladio’s most influential palazzo designs)
1559 (begun)—Palazzo Farnese, Caprarola; Antonio da Sangallo the Younger (fortress base of Castello Farnese, 1522-1527) and Vignola, architects (major example of a Renaissance palace)
1570—Publication of Palladio’s Four Books of Architecture (Quattri Libri d’Architettura; the most influential designs in the history
of architecture; provides the best record of many Roman buildings that survived
until the Renaissance)
(Characterized by curved and recurved forms, particularly plans and pediments; elliptical plans; monumental pilasters; vistas terminating with obelisks, fountains, etc.; large piazzas; double staircases; dramatic lighting effects; and theatrical sculpture.)
1642-1660—Sant’Ivo alla Sapienza, Rome; Francesco Borromini, architect* (Borromini’s finest church)
1654-1665—Palazzo Colonna, Rome; Antonio del Grande and Niccolò Micchetti, architects (one of Rome’s principle palazzos; noted for its interiors)
1656-1667—Colonnades for St. Peter’s piazza, Rome (Vatican); Gianlorenzo Bernini, architect and sculptor* (Bernini’s Baldachino and colonnades saved the enlarged interior and exterior of St. Peter’s from being failures.)
1658-1670—San Andrea al Quirinale, Rome; Gianlorenzo Bernini, architect and sculptor*(Bernini’s finest church and one of the best integrated use of sculpture in any building ever created.)
1656-1661—Château de Vaux-le-Vicomte; Louis Le Vau, architect* (the major example of the French country house; influenced Versailles)
1661-1756—Palais de Versailles; Louis Le Vau et al. , architects (east front, 1667; a group of buildings unified by its garden front)
1723-1726—Spanish Steps, Rome; Francesco de Sanctis, architect (steps as a building type)
1731-1751—Trevi Fountain, Rome; Niccolo Salvi, architect (the terminus of an aqueduct with a palazzo for a background)
1815-1830—Regents Street colonnade, London; John Nash, architect (applying Bernini’s colonnade to a city street)
(Characterized by curvilinear ornament with thin lines and irregular curves; primarily used for late Baroque and early Neoclassical interiors.)
1705-1722—The Zwinger, Dresden; Matthäus Daniel Pöppelmann, architect *(the finest Rococo building)
1742-1753—Pilgrimage Church of the Assumption of Mary, Vierzehnheiligen, Germany; Johann Balthasar Neumann, architect (completed 1772; the finest Rocco church)
1748-1770—Library, Abbey Church of St. Gall; Peter Thumb and Giovanni Gaspare Bagnato, architects (major Rococo interior)
(Characterized by restraint and rectilinear lines; increasingly academic use of the orders; country houses; Palladian design principles were applied even to small houses; increasing adaptation of classical building types to serve contemporary functions.)
1616-1635—Queen’s House (Greenwich Palace), Greenwich; Inigo Jones, architect *(first Palladian villa in Britain and one of the most influential).
1619-1622—Banqueting House, Whitehall, London; Inigo Jones, architect (fragment of a planned palace that is a major building in its own right)
1633—Mauritshuis, the Hague; Jacob van Campen, architect (Dutch Palladian house that influenced English and American houses)
1667-1670—East front of the Louvre, Paris; Louis Le Vau and Claude Perrault, architects* (early example of French Neoclassism)
1672-1687—St. Stephen Walbrook, London; Christopher Wren, architect (Wren’s most sophisticated church interior)
1676-1684—Library, Trinity College, Cambridge; Christopher Wren, architect (one of Wren’s most creative solutions to a design problem)
1679-1691—Dôme des Invalides, Paris; Jules Hardouin-Mansart, architect (centerpiece for a major building complex; later adapted for the tomb of Napoleon)
1698—Place Vendôme, Paris; Jules Hardouin-Mansart, architect* (early example of an urban square with a unified design for the fronts of all sides)
1705-1716—Blenheim Place, Oxfordshire; John Vanbrugh, architect (completed 1725; major British country house)
1714-1729—Christ Church, Spitalfields; Nicolas Hawksmoor, architect (The interior is a Roman temple turned inside out to create one of the great church interiors.)
1720-1726—St. Martin-in-the-Fields, London; James Gibbs, architect* (influenced innumerable church designs in British colonies)
1737-1754—Radcliffe Camera, Oxford; James Gibbes, architect* (major library building with the form of a tempietto)
1738-1742—Drayton Hall, near Charleston (finest Palladian villa in the Americas)
1753-1775—Palaces, Place de la Concorde (Place Louis XV), Paris; Ange-Jacques Gabriel, architect* (influential public buildings)
1755-1780—Panthéon (Sainte Geneviève), Paris; Jacques-Germain Soufflot, architect (completed 1792; reinforced 1806; windows filled in; one of the principal Neoclassical churches)*
1757-1771—Kedleston Hall, Derbyshire; south front and interiors redesigned by Robert and James Adam, architects of the most significant parts (initial design by James Paine; the finest British country house)*
1761-1768—Petit Trianon, Versailles; Ange-Jacques Gabriel, architect* (innovative and influential design)
1762-1769—Anteroom, Syon House, London; Robert and James Adam, architects*(finest Adamesque interior)
1764-1766—Lichfield House, London; James Stuart, architect (major Neoclassical front for a row house)
1765-1769—Miles Brewton House, Charleston; attributed to Richard Moncrieff (Charleston’s finest house)
1767-1777—Circus, Bath; John Wood the Younger, architect* (once of the finest Neoclassical cityscapes)
1768-1772—Adelphi, London; Robert and James Adam, architects (destroyed; the principle building designed wholly by the Adam Brothers)
1768-1785—Newgate Prison, London; George Dance the Younger (destroyed; major monument of the Neoclassical Period)
1768-1782—First Monticello, Charlottesville; Thomas Jefferson, architect (redesigned and largely rebuilt from 1792-1808; considered the best designed house in the American colonies)*
1769-1774—Ēcole de Chirurgie, Paris; Jacques Gondoin, architect (major French example of Neoclassical design, especially its amphitheatre)
1771-1773—Château for Madame Du Barry, Louveciennes (west of Paris); Claude-Nicolas Ledoux, architect (enlarged; key French Neoclassical design)
1771-1773—Pavillon Guimard, Paris; Claude-Nicolas Ledoux, architect (destroyed; key French Neoclassical design)
1772-1774—Society for the Encouragement of Arts, Manufactures & Commerce, London; Robert and James Adam, architects (one of the principle designs of the Adam brothers)
1773-1774—Derby House, London; Robert and James Adam, architects (destroyed; the finest house designed wholly by the Adam Brothers)*
1775-1780—Royal Saltworks, Arc-et-Senans, France; Claude-Nicolas Ledoux, architect (the principle Neoclassical design by Ledoux)*
1776-1786—Somerset House, London; William Chambers, architect (influential British public building)
c. 1780, 1785-1788—Virginia Capitol, Richmond; Thomas Jefferson, architect* (first modern adaptation of the temple form)
1782-1786—Palace, Pavlovsk (Russia); Charles Cameron, architect (major example of Neoclassical design)
1782-1802—Interiors of the Villa Borghese, Rome; renovated by Antonio Asprucci, architect (building designed by Giovanni Vasanzio from 1613-1615; some of the finest interiors in the Neoclassical style)
1788-1823—Bank of England, London; John Soane, architect (largely destroyed; Soane’s principle building)
1790-1794—Fitzroy Square, London; Robert Adam, architect* (Adam’s finest group of town houses)
1791-1792; completed 1807—Charlotte Square, Edinburgh; Robert Adam, architect (another major example of a Neoclassical square)
1792-1808—Monticello, Charlottesville, Virginia; Thomas Jefferson, architect (the most sophisticated house in the United States)
1802-1835—Rue de Rivoli, Paris; Charles Percier and Pierre F. L. Fontaine, architects* (influential cityscape)
1804-1849—Madeleine, Paris; Pierre Vignon, architect, with the interior by Jean-Jacques-Marie Huvé (1825-1845; Roman temple with a major Neoclassical interior)*
1804-1816—Exchange, St. Petersburg; Thomas de Thomon, architect (major Russian example of Greek Doric proportions applied to a Roman building type; influenced by Ledoux)
1806-1836—Arc de Triomphe de l’Ētoile, Paris; Jean-François-Thérèse Chalgrin et al., architects* (the greatest of triumphal arches, ancient or modern)
1808-1813—Bourse (Stock Exchange), Paris; Alexandre-Théodore Brongniart, architect (completed 1825; peristyle with a hipped roof)
1818 (begun)—Bremo, Bremo Bluff (Virginia); attributed to Thomas Jefferson (Jefferson’s finest house)
1816-1831—Glyptothek, Munich; Leo von Klenze, architect (major German example of the Greek Revival style)
1817-1822—Braccio Nuovo, Vatican Museum; Raffaello Stern, architect*(the finest space created for the display of sculpture)
1817-1826—University of Virginia, Charlottesville; Thomas Jefferson, architect (Its library improves on the exterior of the Pantheon. No finer group of buildings had been designed in the United States, and it influenced the design of numerous other groups of buildings.)
1827-1833—Carlton House Terrace, St. James’s, London; John Nash, architect (major example of rows of houses with unified designs)
(Primarily a revival of the Doric Order, but increasingly characterized by the archaeologically correct use of all Greek orders; frequently incorporating Roman elements such as domes; simplified use of Greek orders and ornament for vernacular buildings; increased use of the temple-form, but usually prostyle on a low foundation.)
1784-1789—Barrières (approximately 50 custom houses at the entrances to Paris; also called Portes de Paris or Propylées); Claude-Nicolas Ledoux (four examples survive including two pairs of buildings, most notably the Barrière du Trône* and the Barrière de la Villette; some were Doric, some Roman, and some Palladian; influenced Latrobe)
1789-1793—Brandenburg Gate, Berlin; Carl Gotthard Langhans, architect (based on the Propylaia, Athens)
1798-1800—Bank of Pennsylvania, Philadelphia; Benjamin Henry Latrobe, architect (Greek Ionic; destroyed; the firs building of the American Greek Revival)
1804-1818—Roman Catholic Cathedral, Baltimore; Benjamin Henry Latrobe, architect (Greek Ionic; Latrobe’s most important design and one of the finest Neoclassical buildings ever created)*
1812-1817—Monumental Church, Richmond; Robert Mills, architect (archaic Doric; a major example of the American Greek Revival)
1815-1817—Senate Chamber, United States Capitol, Washington; Benjamin Henry Latrobe, architect (one of the finest Neoclassical spaces created in the United States)
1816-1818—New Guard House (Neue Wache), Berlin; Karl Friedrich Schinkel, architect (major example of German Neoclassical design. Its corner towers were based on the towers of a city wall.)
1818-1824—Second Bank of the United States, Philadelphia; William Strickland, architect (The exterior is based on the Parthenon; the interior is a major example of Neoclassical design.)
1819-1821—Schauspielhaus, Berlin; Karl Friedrich Schinkel, architect*(one of two of Schinkel’s finest and most influential buildings; earliest known use of a row of windows)
1822-1826—Fireproof Building, Charleston; Robert Mills, architect* (the first Greek Revival building in Charleston and a National Landmark in architecture and in engineering; vaulted interior with cantilevered stairs)
1824-1830—Altes Museum, Berlin; Karl Friedrich Schinkel, architect*(the other of Schinkel’s principal buildings and one of the finest museums ever created)
1825—High School, Edinburgh; Thomas Hamilton, architect (a major British example of the Greek Revival and one of relatively few)
1826—Storefront for Arthur Tappan, New York; Ithiel Town, architect (first use of monolithic anta-type piers)
1832—La Grange Terrace, New York; attributed to Town & Davis with J. H. Dakin, architects (one of the finest designs for a row of houses)
1833-1840—North Carolina State Capitol, Raleigh; Town and Davis et al., architects (major example of American Greek Revival)
1833-1848—Girard College, Philadelphia; Thomas Ustick Walter, architect* (Walter’s principle building)
1836-1840—United States Patent Office (renamed National Portrait Gallery), Washington; Robert Mills et al., architects (one of the buildings which shaped Washington’s architecture)
1836-1842—United States Treasury Building, Washington; Robert Mills, architect (another building which shaped Washington’s architecture)*
1838 (designed)—Ohio State Capitol, Columbus; Henry Walter, architect (the principle Greek Revival statehouse)
1839—Charleston Hotel; Karl Friedrich Reichardt, architect (destroyed; widely regarded as one of the finest Greek Revival buildings ever created)
1840—Hibernian Hall, Charleston; Thomas Ustick Walter, architect (major example of American Greek Revival)
1840-1841—Kahal Kadosh Beth Elohim, Charleston; Tappan & Noble, architects (one of the finest adaptations of the Greek Doric temple with a major example of a saucer dome)
1849 (begun)—Custom House, New Orleans; A. T. Wood, architect (major Greek Revival interior)
1852—United States Treasury Building Extension, Washington; Thomas Ustick Walter, architect (one of Walter’s most significant designs)
1911-1922—Lincoln Memorial, Washington; Henry Bacon, architect* (Greek Doric peristyle with a Roman attic)
Italianate Style
(Primarily a revival of the Renaissance palazzo with blocky forms [and ultimately from the Roman apartment block]; cornices proportioned to the full height of the building; and a regular arrangement of window enframements repeated almost without limit horizontally and vertically [a pattern reused rather than a more unified design].)
1829-1832—Traveller’s Club, London; Charles Barry, architect* (created the Italianate Style; first building to be the subject of a separate book)
1837-1841—Reform Club, London; Charles Barry, architect (principle Italianate building by Barry)
1882-1885—Henry Villard Houses, New York; McKim, Mead & White, architects (finest example of the palazzo in the United States)
1896-1900—University Club, New York; McKim, Mead, and White, architects (McKim, partner in charge of design; adaptation of the palazzo)
(Characterized by an erudite combination of primarily Roman and Renaissance elements applied to contemporary building types; cross-axial symmetry; lavish use of sculpture, ornament, and expensive materials.)
1839; 1844-1850—Bibliothèque Sainte Geneviève, Paris; Pierre-François-Henri Labrouste, architect (major early example reflecting Beaux Arts training)
1852-1857—New Louvre, Paris; Ludovico Tullio Joachim Visconti and Hector Martin Lefuel, architects (French Renaissance version of Beaux Arts)
1860-1875—The Opéra, Paris; Charles Garnier, architect* (created theSecond Empire Style)
1862-1883—Palais de Justice, Brussels; Joseph Poelaert, architect (one of the most complete realizations in terms of scale for a Beaux Arts project)
1863-1867—Galleria Vittorio Emanuele II, Milan; Giuseppe Mengoni, architect (influential commercial space)
1884-1905—Victor Emmanuel II Monument, Rome; Giuseppe Sacconi, architect (completed 1911; another of the largest Beaux Arts projects ever realized)
1887-1898—Boston Public Library; McKim, Mead, and White, architects (finest Beaux Arts building in the United States; noted for its interiors created with the collaboration of major artists)
1888 (begun)—Palazzi della Piazza dell’Esedra, Rome; Gaetano Koch, architect (one of the finest Beaux Arts piazzas and buildings)
1888-1910—Palazzo di Giustizia, Rome; Guglielmo Calderini, architect*(the finest Italian example of the Beaux Arts)
1893—World’s Columbian Exposition, Chicago; Burnham and Root et al., architects (destroyed; partly rebuilt; popularized the Beaux Arts in the United States)
1893-1902—Columbia University Library and plan, New York; McKim, Mead, and White, architects* (one of the principle designs of this firm)
1901-1904—New York Stock Exchange; George Browne Post, architect (Post’s finest Beaux Arts design)
1902-1911—Pennsylvania Station, New York; McKim, Mead, and White, architects (destroyed; the finest design by the firm and one of the finest Beaux Arts buildings ever created)*
1903-1913—Grand Central Terminal, New York;Warren and Wetmore, architects, on the basis of designs by Reed and Stem (major example of the Beaux Arts based on the Roman bath)
1912 (designed)—Central Station, Milan; Ulisse Stacchini, architect*(one of the finest examples of the Beaux Arts Style)
1912-1931—Viceroy’s Palace (renamed Rashtrapati Bhavan), Dehli; Edwin Lutyens, architect* (another of the finest designs ever created in the style and Lutyen’s most important building; incorporates Hindu and Islamic elements with a novel design for column capitals)
1913—Rotunda, Palace of Fine Arts, San Francisco; Bernard R. Maybeck, architect (major American example supporting a dome on triumphal arches)
1937—Duveen Sculpture Gallery (Elgin Marbles), British Museum; John Russell Pope, architect (a Beaux Arts design using the Greek Doric order to create one of the finest museum spaces for the display of sculpture)
1937—National Gallery of Art, Washington; John Russell Pope, architect (completed 1941 by Eggers and Higgins; the principle museum designed in the style)
1941-1943—Pentagon, Washington; George Edwin Bergstrom, architect (classical design elements adapted to create the world’s largest building)