Greek Revival architecture in the context of "Neoclassical architecture"

An order in architecture is a certain assemblage of parts subject to uniform established proportions, regulated by the office that each part has to perform.Coming down to the present from Ancient Greek and Ancient Roman civilization, the architectural orders are the styles of classical architecture, each distinguished by its proportions and characteristic profiles and details, and most readily recognizable by the type of column employed. The three orders of architecture—the Doric, Ionic, and Corinthian—originated in Greece. To these the Romans added, in practice if not in name, the Tuscan, which they made simpler than Doric, and the Composite, which was more ornamental than the Corinthian. The architectural order of a classical building is akin to the mode or key of classical music; the grammar or rhetoric of a written composition. It is established by certain modules like the intervals of music, and it raises certain expectations in an audience attuned to its language.

Whereas the orders were essentially structural in Ancient Greek architecture, which made little use of the arch until its late period, in Roman architecture where the arch was often dominant, the orders became increasingly decorative elements except in porticos and similar uses. Columns shrank into half-columns emerging from walls or turned into pilasters. This treatment continued after the conscious and "correct" use of the orders, initially following exclusively Roman models, returned in the Italian Renaissance. Greek Revival architecture, inspired by increasing knowledge of Greek originals, returned to more authentic models, including ones from relatively early periods.

In ancient Greek architecture, a propylon (/ˈprɒpɪlɒn/ or /ˈprɒupɪlɒn/; Ancient Greek πρόπυλον própulon)—also called a propylaeum (/prɒpɪˈliːəm/, a Latinized form of προπύλαιον propúlaion), and frequently referred to by the plural forms propyla and propylaea—is a monumental gateway. It serves as a partition, separating the secular and religious parts of a city. The prototypical Greek example is the propylaea that served as the entrance to the Acropolis of Athens. The Greek Revival Brandenburg Gate of Berlin and the Propylaea in Munich both evoke the central portion.

Rococo architecture, prevalent during the reign of Louis XV in France from 1715 to 1774, is an exceptionally ornamental and exuberant architectural style characterized by the use of rocaille motifs such as shells, curves, mascarons, arabesques, and other classical elements. The Rococo style abandoned the symmetry of earlier Baroque styles like façades, cornices, and pediments, and instead created a flexible and visually engaging style that maintained a level of classical regularity. Light pastel colors, including shades of blue, green, and pink, replaced the darker elements characteristic of Baroque architecture such as exposed limestone and extensive gilding.

The iconography of Rococo architecture, predominantly associated with 18-century Europe, had a considerable influence on various architectural styles globally over subsequent centuries. These styles include Dutch colonial, French colonial, Neoclassical, Greek Revival, Belle Époque, Second Empire, Victorian, Art Deco, and Art Nouveau.

Renaissance Revival architecture (sometimes referred to as "Neo-Renaissance") is a group of 19th-century architectural revival styles which were neither Greek Revival nor Gothic Revival but which instead drew inspiration from a wide range of classicizing Italian modes. Under the broad designation Renaissance architecture 19th-century architects and critics went beyond the architectural style which began in Florence and Central Italy in the early 15th century as an expression of Renaissance humanism; they also included styles that can be identified as Mannerist or Baroque. Self-applied style designations were rife in the mid- and later 19th century: "Neo-Renaissance" might be applied by contemporaries to structures that others called "Italianate", or when many French Baroque features are present (Second Empire).

The divergent forms of Renaissance architecture in different parts of Europe, particularly in France and Italy, has added to the difficulty of defining and recognizing Neo-Renaissance architecture. A comparison between the breadth of its source material, such as the English Wollaton Hall, Italian Palazzo Pitti, the French Château de Chambord, and the Russian Palace of Facets—all deemed "Renaissance"—illustrates the variety of appearances the same architectural label can take.

Decimus Burton (30 September 1800 – 14 December 1881) was one of the foremost English architects and landscapers of the 19th century. He was the foremost Victorian architect in the Roman Revival, Greek Revival, Georgian neoclassical and Regency styles. He was a founding fellow and vice-president of the Royal Institute of British Architects, and from 1840 architect to the Royal Botanic Society, and an early member of the Athenaeum Club, London, whose clubhouse he designed and which the company of his father, James Burton, the pre-eminent Georgian London property developer, built.

Burton's works are Hyde Park, London (including the gate or screen of Hyde Park Corner, the Wellington Arch, and the Gates); Green Park and St James's Park; Regent's Park (including Cornwall Terrace, York Terrace, Clarence Terrace, Chester Terrace, and the villas of the Inner Circle which include his own mansion, The Holme, and the original Winfield House); the enclosure of the forecourt of Buckingham Palace from which he had Nash's Marble Arch moved; the clubhouse of the Athenaeum Club, London; Carlton House Terrace; Spring Gardens in St. James's; and the Palm House and the Temperate House at Kew Gardens. Burton designed the seaside towns of St Leonards-on-Sea, Fleetwood, and Folkestone, and also Royal Tunbridge Wells. His Calverley Estate (of which only a small proportion survives) was highly commended.

The Austrian Parliament Building (German: Parlamentsgebäude, pronounced [paʁlaˈmɛnt͡sɡəˌbɔɪ̯də] colloquially das Parlament) in Vienna is the meeting place of the two houses of the Austrian Parliament. The building is located on the Ringstraße in the first district, Innere Stadt, near Hofburg Palace and the Palace of Justice. It was built to house the two chambers of the Imperial Council (Reichsrat), the bicameral legislature of the Cisleithanian (Austrian) part of the Austro-Hungarian Empire. Since its construction, the Parliament Building has been the seat of these two houses, and their successors—the National Council (Nationalrat) and the Federal Council (Bundesrat)—of the Austrian legislature.

The foundation stone was laid in 1874; the building was completed in 1883. The architect responsible for its Greek Revival style was Theophil Hansen. He designed the building holistically, aiming to have each element harmonize with all the others, and was also responsible for the interior decoration, such as statues, paintings, furniture, chandeliers, and numerous other elements. Hansen was honored by Emperor Franz Joseph with the title of Freiherr (Baron) after its completion. Following heavy damage and destruction in World War II, most of the interior has been restored to its original splendor.