Neoclassical architecture in the context of "Oculus (architecture)"

Eclecticism is a conceptual approach that does not hold rigidly to a single paradigm or set of assumptions, but instead draws upon multiple theories, styles, or ideas to gain complementary insights into a subject, or applies different theories in particular cases. However, this is often without conventions or rules dictating how or which theories were combined.

Eclecticism in ethics, philosophy, politics, and religion is often compared to syncretism, but the two concepts differ in their approach to combining elements from different traditions. While syncretism in religion involves the merging or assimilation of several distinct traditions into a new, unified system, eclecticism adopts elements from various systems without necessarily integrating them into a single cohesive framework. This distinction allows for a broader, more inclusive approach in eclecticism, where the selection is based on individual merit or preference rather than an attempt to create a new unified tradition.

The Glyptothek (German: [ɡlʏptoˈteːk] ) is a museum in Munich, Germany, which was commissioned by the Bavarian King Ludwig I to house his collection of Greek and Roman sculptures (hence γλυπτο- glypto- "sculpture", from the Greek verb γλύφειν glyphein "to carve" and the noun θήκη "container"). It was designed by Leo von Klenze in the neoclassical style, and built from 1816 to 1830. Today the museum is a part of the Kunstareal.

The Palais Bourbon (pronounced [pa.lɛ buʁ.bɔ̃]) is the meeting place of the National Assembly, the lower legislative chamber of the French Parliament. It is in the 7th arrondissement of Paris, on the Rive Gauche of the Seine across from the Place de la Concorde. The official address is on the Rue de l'Université, facing the Place du Palais-Bourbon.

The original palace was built beginning in 1722 for Louise Françoise de Bourbon, Duchess of Bourbon, the legitimised daughter of Louis XIV and the Marquise de Montespan. Four successive architects – Lorenzo Giardini, Pierre Cailleteau, Jean Aubert and Ange-Jacques Gabriel – completed the palace in 1728. It was then confiscated from Louis Joseph, Prince of Condé, during the French Revolution and nationalised. From 1795 to 1799, during the Directory, it was the meeting place of the Council of Five Hundred, which chose the government leaders. Beginning in 1806, during Napoleon Bonaparte's First French Empire, Bernard Poyet's Neoclassical façade was added to mirror that of the Église de la Madeleine, facing it across the Seine beyond the Place de la Concorde.

Renaissance architecture is the European architecture of the period between the early 15th and early 16th centuries in different regions, demonstrating a conscious revival and development of certain elements of ancient Greek and Roman thought and material culture. Stylistically, Renaissance architecture followed Gothic architecture and was succeeded by Baroque architecture and neoclassical architecture.

Developed first in Florence, with Filippo Brunelleschi as one of its innovators, the Renaissance style quickly spread to other Italian cities. The style was carried to other parts of Europe at different dates and with varying degrees of impact. It began in Florence in the early 15th century and reflected a revival of classical Greek and Roman principles such as symmetry, proportion, and geometry. This movement was supported by wealthy patrons, including the Medici family and the Catholic Church, who commissioned works to display both religious devotion and political power. Architects such as Filippo Brunelleschi, Leon Battista Alberti, and later Andrea Palladio revolutionized urban landscapes with domes, columns, and harmonious facades. While Renaissance architecture flourished most in Italy, its influence spread across Europe reaching France, Spain, and the Low Countries adapting to local traditions. Public buildings, churches, and palaces became symbols of civic pride and imperial strength, linking humanism with empire-building.

Classical architecture typically refers to architecture consciously derived from the principles of Greek and Roman architecture of classical antiquity, or more specifically, from De architectura (c. 10 AD) by the Roman architect Vitruvius. Variations of classical architecture have arguably existed since the Carolingian Renaissance, and became especially prominent during the Italian Renaissance and the later period known as neoclassical architecture or Classical revival. While classical styles of architecture can vary, they generally share a common "vocabulary" of decorative and structural elements. Across much of the Western world, classical architectural styles have dominated the history of architecture from the Renaissance until World War II. Classical architecture continues to influence contemporary architects.

The term classical architecture can also refer to any architectural tradition that has evolved to a highly refined form, such as classical Chinese or Mayan architecture. It may also describe architecture that adheres to classical aesthetic philosophy. The term might be used differently from "traditional" or "vernacular architecture", it can share underlying axioms with it.

Sassari (US: /ˈsɑːsəri, ˈsɑːsɑːri/ SAH-sər-ee, SAH-sar-ee; Italian: [ˈsassari] ; Sassarese: Sàssari [ˈsasːari]; Sardinian: Tàtari [ˈtataɾi]) is the second-largest city in the autonomous region of Sardinia in Italy, as well as the capital and largest of its metropolitan city with 120,497 inhabitants as of 2025, and a functional urban area of about 260,000 inhabitants. One of the oldest cities on the island, it contains a considerable collection of art.

Since its origins at the turn of the 12th century, Sassari has been ruled by the Giudicato of Torres, the Pisans, as an independent republic in alliance with Genoa, by the Aragonese and the Spanish, all of whom have contributed to Sassari's historical and artistic heritage. Sassari is a city rich in art, culture and history, and is well known for its palazzi, the Fountain of the Rosello, and its elegant neoclassical architecture, such as Piazza d'Italia (Italy Square) and the Teatro Civico (Civic Theatre).

Bucharest (UK: /ˌbuːkəˈrɛst/ BOO-kə-REST, US: /ˈbuːkərɛst/ -⁠rest; Romanian: București [bukuˈreʃtʲ] ) is the capital and largest city of Romania. The metropolis stands on the River Dâmbovița in south-eastern Romania. Its population is officially estimated at 1.71 million residents within a greater metropolitan area of 2.31 million residents, which makes Bucharest the 8th most-populous city by population within city limits in the European Union. The city area measures 240 km (93 sq mi), while the metropolitan area covers 1,811 km (699 sq mi). The city proper is administratively known as the "Municipality of Bucharest" (Romanian: Municipiul București), and has the same administrative level as that of a national county, being further subdivided into six sectors, each governed by a local mayor. Bucharest is a major cultural, political and economic hub, the country's seat of government, and the capital of the Muntenia region.

Bucharest was first mentioned in documents in 1459. The city became the capital in 1862 and is the centre of Romanian media, culture, and art. Its architecture is a mix of historical (mostly Eclectic, but also Neoclassical and Art Nouveau), interbellum (Bauhaus, Art Deco, and Romanian Revival architecture), socialist era, and modern. In the period between the two World Wars, the city's elegant architecture and the sophistication of its elite earned Bucharest the nicknames of Little Paris, or Paris of the East. Although buildings and districts in the historic city centre were heavily damaged or destroyed by war, earthquakes, and even Nicolae Ceaușescu's program of systematization, many survived and have been renovated. In recent years, the city has been experiencing an economic and cultural boom. It is one of the fastest-growing high-tech cities in Europe. In 2016, the historical city centre was listed as "endangered" by the World Monuments Watch.

Tbilisi (/təbɪˈliːsi, təˈbɪlɪsi/ tə-bil-EE-see, tə-BIL-iss-ee; Georgian: თბილისი, pronounced [ˈtʰbilisi] ), Georgian: ტფილისი, romanized: t'pilisi [tʼpʰilisi]) is the capital and largest city of Georgia, located on the banks of the Kura River. With more than 1.3 million inhabitants, it contains almost one third of the country's population. Tbilisi was founded in the fifth century AD by Vakhtang I of Iberia and has since served as the capital of various Georgian kingdoms and republics. Between 1801 and 1917, then part of the Russian Empire, it was the seat of the Caucasus Viceroyalty, governing both the northern and the southern sides of the Caucasus.

Because of its location at the crossroads between Europe and Asia, and its proximity to the lucrative Silk Road, throughout history, Tbilisi has been a point of contention among various global powers. To this day, the city's location ensures its position as an important transit route for energy and trade projects. Tbilisi's history is reflected in its architecture, which is a mix of medieval, neoclassical, Beaux Arts, Art Nouveau, Stalinist, and Modern structures.

Sicilian Baroque is the distinctive form of Baroque architecture which evolved on the island of Sicily, off the southern coast of Italy, in the 17th and 18th centuries, when it was part of the Spanish Empire. The style is recognisable not only by its typical Baroque curves and flourishes, but also by distinctive grinning masks and putti and a particular flamboyance that has given Sicily a unique architectural identity.

The Sicilian Baroque style came to fruition during a major surge of rebuilding following the massive earthquake in 1693. Previously, the Baroque style had been used on the island in a naïve and parochial manner, having evolved from hybrid native architecture rather than being derived from the great Baroque architects of Rome. After the earthquake, local architects, many of them trained in Rome, were given plentiful opportunities to recreate the more sophisticated Baroque architecture that had become popular in mainland Italy; the work of these local architects – and the new genre of architectural engravings that they pioneered – inspired more local architects to follow their lead. Around 1730, Sicilian architects had developed a confidence in their use of the Baroque style. Their particular interpretation led to further evolution to a personalised and highly localised art form on the island. From the 1780s onwards, the style was gradually replaced by the newly fashionable neoclassicism.

Gothic Revival (also referred to as Victorian Gothic or Neo-Gothic) is an architectural movement that after a gradual build-up beginning in the second half of the 17th century became a widespread movement in the first half of the 19th century, mostly in England. Increasingly serious and learned admirers sought to revive medieval Gothic architecture, intending to complement or even supersede the neoclassical styles prevalent at the time. Gothic Revival draws upon features of medieval examples, including decorative patterns, finials, lancet windows, and hood moulds. By the middle of the 19th century, Gothic Revival had become the pre-eminent architectural style in the Western world, only to begin to fall out of fashion in the 1880s and early 1890s.

For some in England, the Gothic Revival movement had roots that were intertwined with philosophical movements associated with Catholicism and a re-awakening of high church or Anglo-Catholic belief concerned by the growth of religious nonconformism. The "Anglo-Catholic" tradition of religious belief and style became known for its intrinsic appeal in the third quarter of the 19th century. Gothic Revival architecture varied considerably in its faithfulness to both the ornamental styles and construction principles of its medieval ideal, sometimes amounting to little more than pointed window frames and touches of neo-Gothic decoration on buildings otherwise created on wholly 19th-century plans, using contemporary materials and construction methods; most notably, this involved the use of iron and, after the 1880s, steel in ways never seen in medieval exemplars.