Egyptian Revival architecture

Last updated
Egyptian Revival architecture
Egyptian Hall, Piccadilly - Shepherd, Metropolitan Improvements (1828), p295 (edited).jpg
Neues Museum Aegyptischer Hof.jpg
2043-05370 De Grote Tempel van de vrijmetselaarsloge Les Amis Philanthropes.jpg
Egyptian Theatre on Main St, Delta, Colorado..JPG
A: The Egyptian Hall in London (1812-destroyed in 1905); B: 1862 lithograph of the Aegyptischer Hof (English: Egyptian court), from the Neues Museum, Berlin (early of mid-19th century); C: Interior of the Temple maçonnique des Amis philanthropes in Brussels, Belgium (1877-1879); D: Egyptian Theatre, Colorado, U.S. (1928)
Years activeLate 18th-present

Egyptian Revival is an architectural style that uses the motifs and imagery of ancient Egypt. It is attributed generally to the public awareness of ancient Egyptian monuments generated by Napoleon's conquest of Egypt and Admiral Nelson's defeat of the French Navy at the Battle of the Nile in 1798. Napoleon took a scientific expedition with him to Egypt. Publication of the expedition's work, the Description de l'Égypte , began in 1809 and was published as a series through 1826. The size and monumentality of the façades discovered during his adventure cemented the hold of Egyptian aesthetics on the Parisian elite. However, works of art and architecture (such as funerary monuments) in the Egyptian style had been made or built occasionally on the European continent since the time of the Renaissance.

Contents

History

Egyptian influence before Napoleon

Much of the early knowledge about ancient Egyptian arts and architecture was filtered through the lens of the Classical world, including ancient Rome. Prior to Napoleon's influence an early example is the Obelisk of Domitian, erected in 1651 by Bernini on top of the Fontana dei Quattro Fiumi in Piazza Navona, Rome, which went on to inspire several Egyptian obelisks constructed in Ireland during the early 18th century. It influenced the obelisk constructed as a family funeral memorial by Sir Edward Lovatt Pierce for the Allen family at Stillorgan in Ireland in 1717, one of several Egyptian obelisks erected in Ireland during the early 18th century. Others may be found at Belan, County Kildare; and Dangan, County Meath. The Casteltown Folly in County Kildare is probably the best known, albeit the least Egyptian-styled.

Egyptian buildings had also been built as garden follies. The most elaborate was probably the one built by Frederick I, Duke of Württemberg in the gardens of the Château de Montbéliard. It included an Egyptian bridge across which guests walked to reach an island with an elaborate Egyptian-influenced bath house. Designed by the duke's court architect, Jean Baptiste Kleber, the building had a billiards room and a bagnio.

During the 2nd half of the 18th century, with the rise of Neoclassicism, sometimes architects mixed the Ancient Greek, Roman and Egyptian styles. They wanted to discover new shape and ornament ideas, rather than to be just faithful copyists of the past. [1]

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’Egypte” 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 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 (1757–1827) suggested a massive pyramid for Shooter's Hill as a National Monument, while 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." [7] According to Diana Muir Appelbaum, it was "the first public building (that is, not a folly, stage set, or funeral monument) in the Egyptian revival style." [8] The ancient Egyptian influence was mainly shown in the two large engaged 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. [9] 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. [10]

One of the first British buildings to show an Egyptian Revival interior was the newspaper office of the Courier on the Strand in London. It was built in 1804 and featured a cavetto (coved) cornice and Egyptian-influenced columns with palmiform capitals. [11] Other early British examples include the Egyptian Hall in London, completed in 1812, and the Egyptian Gallery, a private room in the home of connoisseur 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.

Rise of Egyptian Revival in America

Travels in Egypt and Nubia, Fredrick Norden, 1757 Travels in Egypt and Nubia Fleuron T006299-4.png
Travels in Egypt and Nubia, Fredrick Norden, 1757

Around the 1870s, Americans started to become interested in other cultures, including those of Japan, the Middle East and North Africa. These were reflected in various decorative arts, especially architecture and furniture. Egyptian motifs and symbols were commonly used in the design including elements of "gilt bronze fittings shaped like sphinxes, Egyptian scenes woven into textiles, and geometric renderings of plants such as palm fronds". [15]

Some Americans in the 1880s believed that the United States was a nation without art and therefore wanted to innovate in the field of aesthetic design to distinguish it from Egyptian pyramids and obelisks, Greek temples, and Gothic spires. But implementing such innovations was difficult, and as Clarence King said, “Till there is an American race there cannot be an American style”. The creation of the American style was also hindered by the fact that the ethnic mix of the American people did not constitute a race. [16] In the time that followed, however, America's own culture was assimilating Egyptian revivalist architecture, and their tectonic significance became unstable. This may be because the United States of the early 20th century was a confident nation, and the approach of defining one's own spiritual world by establishing a connection to a great civilization like ancient Egypt faded in such a cultural context. [17]

Later revivals

The Death of the Pharaoh's Firstborn Son, by Lawrence Alma-Tadema, 1872, oil on canvas, 77 x 124.5 cm, in the Rijksmuseum in Amsterdam. Revivals of the arts of ancient Egypt were not limited only to architecture. There were also Egyptian Revival designs of furniture, ceramics, candelabra, jewelry etc. Also, some 19th and very early 20th century Academic paintings shows scenes from Ancient Egypt De dood van de eerstgeborene van de farao, SK-A-2664.jpg
The Death of the Pharaoh's Firstborn Son, by Lawrence Alma-Tadema, 1872, oil on canvas, 77 × 124.5 cm, in the Rijksmuseum in Amsterdam. Revivals of the arts of ancient Egypt were not limited only to architecture. There were also Egyptian Revival designs of furniture, ceramics, candelabra, jewelry etc. Also, some 19th and very early 20th century Academic paintings shows scenes from Ancient Egypt

Egyptian Revival architecture enjoyed considerable popularity in other countries as well. The first Egyptian Revival building in the United States was the 1824 synagogue building of Congregation Mikveh Israel Synagogue in Philadelphia. [18] It was followed by a series of major public buildings in the first half of the 19th century including the 1835 Philadelphia County Prison, Philadelphia, Pennsylvania, United States, the 1836 Fourth District Police Station in New Orleans and the 1838 New York City jail known as the Tombs. Other public buildings in Egyptian style included the 1844 Old Whaler's Church in Sag Harbor, New York, the 1846 First Baptist Church in Essex, Connecticut, the 1845 Egyptian Building of the Medical College of Virginia in Richmond and the 1848 United States Custom House in New Orleans. The most notable Egyptian structure in the United States was the Washington Monument, begun in 1848, this obelisk originally featured doors with cavetto cornices and winged sun disks, later removed. The National World War I Museum and Memorial in Kansas City, Missouri, is another example of Egyptian revival architecture and art. [19]

The South African College in the then-British Cape Colony features an "Egyptian building" constructed in 1841; the Egyptian Revival building of the Cape Town Hebrew Congregation is also still standing.

The York Street Synagogue was Australia's first Egyptian revival building, followed by the Hobart Synagogue, the Launceston Synagogue and the Adelaide Hebrew Congregation, all by 1850. The earliest obelisk in Australia was erected at Macquarie Place, Sydney in 1818. [20]

The expeditions that eventually led to the discovery in 1922 of the treasure of Tutankhamun's's tomb by archaeologist Howard Carter resulted in a 20th-century revival. The revival during the 1920s is sometimes considered to be part of the Art Deco style. This phase gave birth to the Egyptian theatre movement, largely confined to the United States. The Egyptian Revival decorative arts style was present in furniture and other household objects, as well as in architecture.

Hieroglyphics

Many notable works in Britain featured attempts by architects to translate and depict messages in Egyptian hieroglyphics. [30] Although sincere attempts at compositions, understanding of hieroglyphic syntax and semantics has advanced since they were built and errors have been discovered in many of these works. Although both public and private buildings were built in Britain in the Egyptian Revival style, the vast majority of those with attempts at accurate inscriptions were public works or on entrances to public buildings. [30]

In 1824, French classical scholar and egyptologist J.F. Champollion published Precis du systeme hieroglyphique des anciens Egyptiens in 1824, which spurred the first notable attempts to decipher the hieroglyphic language in Britain. [30] Joseph Bonomi's inscriptions in the entrance lodges to Abney Park cemetery in 1840 was the first real recorded attempt to compose a legible text. An Egyptologist himself, Bonomi and other scholars such as Samuel Birch, Samuel Sharpe, William Osburne, and others [30] would compose texts for a variety of other British projects throughout the nineteenth century including Marshall's Mill in Leeds, an aedicula in the grounds of the Hartwell House, and as part of an Egyptian exhibition in the Crystal Palace after it was re-erected in southeast London. [30]

The content of the inscriptions varied depending on the nature of their specific projects. The Crystal Palace exhibition features several different inscriptions, with the main inscription detailing the construction and content of the hall and proclaiming it as an educational asset to the community. It ends with a message to invoke good fortune, translated as 'let it be prosperous. [30] ' Other smaller inscriptions on the cornice of the exhibit entrance feature the names of the builders and a message in Greek wishing for the health and well-being of Queen Victoria and Prince Albert, [30] members of the royal family. The main inscription is accompanied by an English translation, with the characters spaced to match the position of the English words. However, Chris Elliot notes that the translation overly relies on phonetic transliteration and features some unusual characters for words that were difficult to translate into hieroglyphs. [30]

List of buildings

North America

Europe, Russia, Africa and Australia

Post-Modern variants

See also

Notes

  1. ↑ Bergdoll 2000, pp. 23.
  2. ↑ Sund 2019, p. 221.
  3. 1 2 Sund 2019, p. 210.
  4. ↑ Borngässer, Barbara (2020). POTSDAM - Art, Architecture abd Landscape. Vista Point. p. 292. ISBN   978-3-96141-579-3.
  5. ↑ Bergdoll 2000, pp. 113.
  6. ↑ Argan, Giulio Carlo (1982). Art Modernă (in Romanian). Editura Meridiane.
  7. ↑ David Brownlee, Frederich Weinbrenner: Architect of Karlsruhe, University of Pennsylvania Press, 1986. p. 92.
  8. ↑ Diana Muir Appelbaum, "Jewish Identity and Egyptian Revival Architecture", Journal of Jewish Identities, 2012, 5(2) p. 7.
  9. ↑ Curl, James Stevens (2005). The Egyptian Revival. Psychology Press. p. 276. ISBN   9780415361194.
  10. ↑ James Stevens Curl, The Egyptian Revival, Routledge/* Post-Napoleonic era */ , London, 2005. p. 267.
  11. ↑ Egyptomania: Egypt in Western Art, 1730–1930, Jean-Marcel Humbert, Michael Pantazzi and Christiane Ziegler, 1994, pp. 172–3
  12. ↑ Gössel, Peter; Leuthäuser, Gabriele (2022). Architecture in the 20th Century. TASCHEN. p. 11. ISBN   978-3-8365-7090-9.
  13. ↑ Sund 2019, p. 216.
  14. ↑ Graham-Nixon, Andrew (2023). art THE DEFINITIVE VISUAL HISTORY. DK. p. 309. ISBN   978-0-2416-2903-1.
  15. ↑ Ickow, Sara (July 2012). "Egyptian Revival". www.metmuseum.org. Archived from the original on 2012-11-05. Retrieved 2021-09-30.
  16. ↑ Giguere, Joy M. (2014). Characteristically American : memorial architecture, national identity, and the Egyptian revival (1st ed.). Knoxville: The University of Tennessee Press. ISBN   978-1-62190-077-1. OCLC   893336717.
  17. ↑ Grubiak, Margaret M. (2016). "Characteristically American: Memorial Architecture, National Identity, and the Egyptian Revival by Joy M. Giguere". Technology and Culture. 57 (1): 256–257. doi:10.1353/tech.2016.0009. ISSN   1097-3729. S2CID   112725318.
  18. ↑ Diana Muir Appelbaum, "Jewish Identity and Egyptian Revival Architecture", Journal of Jewish Identities, 2012 5(2)
  19. ↑ "Elements of the Museum and Memorial | National WWI Museum and Memorial". National WWI Museum and Memorial. 2013-03-01. Retrieved 2018-11-02.
  20. ↑ Humbert, Jean-Marcel and Price, Clifford, eds., Imhotep Today: Egyptianizing Architecture, UCL Prewss, 2003, pp. 167 ff.
  21. ↑ Sund 2019, p. 222.
  22. ↑ Sund 2019, p. 223.
  23. ↑ Hopkins 2014, p. 130.
  24. ↑ Constantin, Paul (1972). Arta 1900 în România (in Romanian). Editura Meridiane. p. 93.
  25. ↑ Thibaut. "The Egyptian House Of Strasbourg". enjoystrasbourg.com. Retrieved 19 August 2023.
  26. ↑ Texier, Simon (2022). Architectures Art Déco - Paris et Environs - 100 Bâtiments Remarquable. Parigramme. p. 37. ISBN   978-2-37395-136-3.
  27. ↑ Sund 2019, p. 224.
  28. ↑ van Lemmen, Hans (2013). 5000 Years of Tiles. The British Museum Press. p. 246. ISBN   978-0-7141-5099-4.
  29. ↑ Sund 2019, p. 212.
  30. 1 2 3 4 5 6 7 8 Elliot, Chris (2013). "Compositions in Egyptian Hierogylphs in Nineteenth Century England". The Journal of Egyptian Archaeology. 99: 171–189. doi:10.1177/030751331309900108. S2CID   193273948 – via JSTOR.

Related Research Articles

<span class="mw-page-title-main">Art Deco</span> Early-20th-century architectural and art style

Art Deco, short for the French Arts Décoratifs, , is a style of visual arts, architecture, and product design, that first appeared in Paris in the 1910s, and flourished in the United States and Europe during the 1920s to early 1930s. Through styling and design of the exterior and interior of anything from large structures to small objects, including how people look, Art Deco has influenced bridges, buildings, ships, ocean liners, trains, cars, trucks, buses, furniture, and everyday objects including radios and vacuum cleaners.

<span class="mw-page-title-main">Atlas (architecture)</span> Architectural support sculpted in the form of a man

In European architectural sculpture, an atlas is a support sculpted in the form of a man, which may take the place of a column, a pier or a pilaster. The Roman term for such a sculptural support is telamon.

An obelisk is a tall, four-sided, narrow tapering monument which ends in a pyramid-like shape or pyramidion at the top. Originally constructed by Ancient Egyptians and called tekhenu, the Greeks used the Greek term obeliskos to describe them, and this word passed into Latin and ultimately English. Though William Thomas used the term correctly in his Historie of Italie of 1549, by the late sixteenth century, Shakespeare failed to distinguish between pyramids and obelisks in his plays and sonnets. Ancient obelisks are monolithic and consist of a single stone; most modern obelisks are made of several stones.

<span class="mw-page-title-main">Caryatid</span> Load-bearing pillar in the figure of a female, Ancient Greece and later

A caryatid is a sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head. The Greek term karyatides literally means "maidens of Karyai", an ancient town on the Peloponnese. Karyai had a temple dedicated to the goddess Artemis in her aspect of Artemis Karyatis: "As Karyatis she rejoiced in the dances of the nut-tree village of Karyai, those Karyatides, who in their ecstatic round-dance carried on their heads baskets of live reeds, as if they were dancing plants".

This is a timeline of architecture, indexing the individual year in architecture pages. Notable events in architecture and related disciplines including structural engineering, landscape architecture, and city planning. One significant architectural achievement is listed for each year.

<span class="mw-page-title-main">Polychrome</span> Art terminology and color method

Polychrome is the "practice of decorating architectural elements, sculpture, etc., in a variety of colors." The term is used to refer to certain styles of architecture, pottery, or sculpture in multiple colors.

<span class="mw-page-title-main">Synagogue architecture</span>

Synagogue architecture often follows styles in vogue at the place and time of construction. There is no set blueprint for synagogues and the architectural shapes and interior designs of synagogues vary greatly. According to tradition, the Shekhinah or divine presence can be found wherever there is a minyan, a quorum, of ten. A synagogue always contains an Torah ark where the Torah scrolls are kept, called the aron qodesh by Ashkenazi Jews and the hekhal by Sephardic Jews.

<span class="mw-page-title-main">Festoon</span> Decoration of a wreath or garland hanging from two points

A festoon is a wreath or garland hanging from two points, and in architecture typically a carved ornament depicting conventional arrangement of flowers, foliage or fruit bound together and suspended by ribbons. The motif is sometimes known as a swag when depicting fabric or linen.

<span class="mw-page-title-main">Ancient Egyptian architecture</span> Aspect of architecture

Spanning over three thousand years, ancient Egypt was not one stable civilization but in constant change and upheaval, commonly split into periods by historians. Likewise, ancient Egyptian architecture is not one style, but a set of styles differing over time but with some commonalities.

<span class="mw-page-title-main">History of architecture</span> Field of history focused on architecture

The history of architecture traces the changes in architecture through various traditions, regions, overarching stylistic trends, and dates. The beginnings of all these traditions is thought to be humans satisfying the very basic need of shelter and protection. The term "architecture" generally refers to buildings, but in its essence is much broader, including fields we now consider specialized forms of practice, such as urbanism, civil engineering, naval, military, and landscape architecture.

<span class="mw-page-title-main">Architectural sculpture</span> Use of sculptural techniques in architecture

Architectural sculpture is the use of sculptural techniques by an architect and/or sculptor in the design of a building, bridge, mausoleum or other such project. The sculpture is usually integrated with the structure, but freestanding works that are part of the original design are also considered to be architectural sculpture. The concept overlaps with, or is a subset of, monumental sculpture.

<span class="mw-page-title-main">Mayan Revival architecture</span> 1920s–1930s modern architectural style

Maya Revival is a modern architectural style popular in the Americas during the 1920s and 1930s that drew inspiration from the architecture and iconography of pre-Columbian Mesoamerican cultures.

<span class="mw-page-title-main">Architecture of Egypt</span> Overview of the architectural history of Egypt

There have been many architectural styles used in Egyptian buildings over the centuries, including Ancient Egyptian architecture, Greco-Roman architecture, Islamic architecture, and modern architecture.

<span class="mw-page-title-main">Cartouche (design)</span> Frame for a painted or engraved design

A cartouche is an oval or oblong design with a slightly convex surface, typically edged with ornamental scrollwork. It is used to hold a painted or low-relief design. Since the early 16th century, the cartouche is a scrolling frame device, derived originally from Italian cartuccia. Such cartouches are characteristically stretched, pierced and scrolling.

<span class="mw-page-title-main">Mascaron (architecture)</span> Ornament depicting a face

In architecture and the decorative arts, a mascaron ornament is a face, usually human, sometimes frightening or chimeric, whose alleged function was originally to frighten away evil spirits so that they would not enter the building. The concept was subsequently adapted to become a purely decorative element. The most recent architectural styles to extensively employ mascarons were Beaux Arts and Art Nouveau. In addition to architecture, mascarons are used in the other applied arts.

<span class="mw-page-title-main">Egyptian Revival decorative arts</span>

Egyptian revival decorative arts is a style in Western art, mainly of the early nineteenth century, in which Egyptian motifs were applied to a wide variety of decorative arts objects.

The architecture of Mumbai blends Gothic, Victorian, Art Deco, Indo-Saracenic & Contemporary architectural styles. Many buildings, structures and historical monuments remain from the colonial era. Mumbai, after Miami, has the second largest number of Art Deco buildings in the world.

<span class="mw-page-title-main">Bath Abbey Cemetery</span> Cemetery in Bath and North East Somerset, UK

The Anglican Bath Abbey Cemetery, officially dedicated as the Cemetery of St Peter and St Paul, was laid out by noted cemetery designer and landscape architect John Claudius Loudon (1783–1843) between 1843 and 1844 on a picturesque hillside site overlooking Bath, Somerset, England.

<span class="mw-page-title-main">Medallion (architecture)</span> Round or oval decoration used in architecture

A medallion is a round or oval ornament that frames a sculptural or pictorial decoration in any context, but typically a façade, an interior, a monument, or a piece of furniture or equipment.

<span class="mw-page-title-main">Egyptian Revival architecture in the British Isles</span>

Egyptian Revival architecture in the British Isles is a survey of motifs derived from Ancient Egyptian sources occurring as an architectural style. Egyptian Revival architecture is comparatively rare in the British Isles. Obelisks start appearing in the 17th century, mainly as decorative features on buildings and by the 18th century they started to be used in some numbers as funerary or commemorative monuments. In the later 18th century, mausoleums started to be built based on pyramids, and sphinxes were used as decorative features associated with monuments or mounted on gate piers. The pylon, a doorway feature with spreading jambs which support a lintel, also started to be used and became popular with architects.

References

This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.