| Egyptian Revival architecture | |
|---|---|
%2c_p295_(edited).jpg)    A: TheEgyptian Hall in London (1812 destroyed in 1905); B: 1862 lithograph of the Aegyptischer Hof (English: Egyptian court), from theNeues Museum, Berlin (early of mid-19th century); C: Interior of the Temple maçonnique des Amis philanthropes inBrussels,Belgium (1877–1879); D:Egyptian Theatre,Colorado,U.S. (1928) | |
| Years active | Late 18th–present |
| Location | Western world |
Egyptian Revival is anarchitectural style that uses the motifs and imagery ofancient Egypt. It is attributed generally to the public awareness of ancient Egyptian monuments generated byNapoleon'sinvasion of Egypt in 1798, andAdmiral Nelson's defeat of theFrench Navy at theBattle of the Nile later that year. Napoleon took a scientific expedition with him to Egypt. Publication of the expedition's work, theDescription 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 theRenaissance.
Much of the early knowledge about ancient Egyptian arts and architecture was filtered through the lens of the Classical world, including ancient Rome. Prior toNapoleon's influence an early example is theObelisk ofDomitian, erected in 1651 byBernini on top of theFontana dei Quattro Fiumi inPiazza 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 SirEdward Lovett Pearce for theAllen family atStillorgan 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.Conolly's Folly in County Kildare is probably the best known, albeit the least Egyptian-styled.
Egyptian buildings had also been built asgarden follies. The most elaborate was probably the one built by DukeFrederick I of Württemberg in the gardens of theChâteau de Montbéliard. It included an Egyptian bridge across which guests walked to reach an island with an elaborate Egyptian-influencedbath house. Designed byJean-Baptiste Kléber, later French commander in Egypt, the building had a billiards room and abagnio.
During the 2nd half of the 18th century, with the rise ofNeoclassicism, sometimes architects mixed theAncient Greek,Roman andEgyptian styles. They wanted to discover new shape and ornament ideas, rather than to be just faithful copyists of the past.[1]
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New after the Napoleonic invasion was a sudden increase in 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'Égypte" was started based on these documents and lasted over twenty years. The content in this archaeological text includes translation of theRosetta Stone, pyramids, and other scenes, arousing interest in Egyptian arts and culture in Europe and America.
According toJames Stevens 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 inDrury Lane, London, with Egyptian-themed sets and costumes. On the other hand,William Capon (1757–1827) suggested a massive pyramid forShooter's Hill as a National Monument, whileGeorge Smith (1783–1869) designed an Egyptian-style tomb forRalph Abercromby inAlexandria.
According toDavid Brownlee, the 1798Karlsruhe Synagogue, an early building by the influentialFriedrich Weinbrenner was "the first large Egyptian building to be erected since antiquity."[9] According toDiana Muir, it was "the first public building (that is, not a folly, stage set, or funeral monument) in the Egyptian revival style."[10] The ancient Egyptian influence was mainly shown in the two large engagedpylons flanking the entrance; otherwise, the windows and entrance of the central section were pointed arches, and the overall plan was conventional, withNeo-Gothic details.
Among the earliest monuments of the Egyptian Revival in Paris is theFontaine du Fellah, built in 1806. It was designed byFrançois-Jean Bralle. A well-documented example, destroyed after Napoleon was deposed, was the monument to GeneralLouis Desaix in thePlace des Victoires was built in 1810. It featured a nude statue of the general and an obelisk, both set upon an Egyptian Revival base.[11] Another example of a still-standing site of Egyptian Revival is theEgyptian 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 massiveHathor heads and a frieze by sculptor J. G. Garraud.[12]
One of the first British buildings to show an Egyptian Revival interior was the newspaper office of theCourier on theStrand, London. It was built in 1804 and featured acavetto (coved)cornice and Egyptian-influenced columns with palmiformcapitals.[13] Other early British examples include theEgyptian Hall in London, completed in 1812, and the Egyptian Dining Room atGoodwood House (1806). There was also the Egyptian Gallery, a private room in the home of connoisseurThomas Hope to display his Egyptian antiquities, and illustrated in engravings from his meticulous line drawings in his bookHousehold Furniture (1807), were a prime source for theRegency style of British furnishings.
The first Egyptian Revival building in the United States was the 1824 synagogue ofCongregation Mikveh Israel inPhiladelphia.[16] It was followed by a series of major public buildings in the first half of the 19th century including the 1835Moyamensing Prison, Philadelphia, Pennsylvania, United States, the 1836 Fourth District Police Station in New Orleans and the 1838 New York City jail known asthe Tombs. Other public buildings in Egyptian style included the 1844Old Whaler's Church inSag Harbor, New York, the 1846First Baptist Church of Essex, Connecticut, the 1845Egyptian Building of theMedical College of Virginia in Richmond and the 1848United States Custom House (New Orleans). The most notable Egyptian structure in the United States was theWashington Monument, begun in 1848, this obelisk originally featured doors with cavetto cornices and winged sun disks, later removed. TheNational World War I Museum and Memorial inKansas City, Missouri, is another example of Egyptian revival architecture and art.[17]
Around the 1870s, Americans began to show an increasing interest in other cultures, including those of Japan, the Middle East, and North Africa, which led to a second period of interest in the Egyptian Revival. 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".[18]
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 asClarence 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.[19] 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.[20]
TheSouth African College in the then-BritishCape Colony features an "Egyptian building" constructed in 1841; the Egyptian Revival building of theCape Town Hebrew Congregation is also still standing.
The York Street Synagogue was Australia's first Egyptian revival building, followed by theHobart Synagogue, theLaunceston Synagogue, and theAdelaide Hebrew Congregation, all by 1850. The earliest obelisk in Australia was erected atMacquarie Place, Sydney, in 1818.[21]
The expeditions that eventually led to thediscovery in 1922 of Tutankhamun's tomb by archaeologistHoward Carter resulted in a 20th-century revival. The revival during the 1920s is sometimes considered to be part of theArt Deco style. This phase gave birth to theEgyptian Theatre movement, largely confined to the United States. TheEgyptian Revival decorative arts style was present in furniture and other household objects, as well as in architecture.
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Contemporary revivals
Contemporary Egyptian revival architecture is not as prevalent as it was in the 30s, even up to the 50s. There are two types of contemporary Egyptian Revival described here: concepts of Egyptian architecture or highly themed Egyptomania architecture. An example of an Egyptian revival architecture concept is the I.M. Pei Louvre Pyramid (1984 to 1989), although the architect refuses the correlation to the Ancient Egyptians, stating that the pyramid is a demonstration of pure form.[30] But the public connects the Louvre Pyramid to the Giza Pyramids, which has caused controversy, almost leading to the project's cancellation.[30] Also, researchers discovered connections of the I.M. Pei pyramids to Ancient Egyptian themes, themes like civilization.[31] The reason for the connection is the Louvre's and Egyptian archaeology's mutual history.[31] Additionally, the underground elements of the pyramid correlate to the underground structures of the Egyptian Pyramids, according to the same researchers.[31] The only additional ideologies in contemporary Egyptian revival architecture are based on the philosophical and religious ideology of immortality,[32] and within the last 30 years, Egyptian pyramid elements in cemeteries are still prevalent for that reason.[33] Some contemporary architecture uses Egyptian revival to tie buildings to Ancient Egyptian ideologies.[32] Some include museum exhibitions (ex., the Royal Ontario Museum train station),[34] justice buildings to tie to ancient Egyptian justice ideals, schools to tie to their scientific progress, and tombs or shrines to immortality.[32]
In the 1970s through to the 2000s, there was some Egyptian revival because of America's re-fascination with King Tutankhamun due to the 1976 to 1979 exhibition of the king's tomb.[35] Another revival reason for Egyptomania in contemporary architecture is "mummy mania".[36] The version of ancient Egypt in movies created an interest in ancient Egypt, which led to the construction of themed experiences.[36] The construction of themed experiences for monetization in entertainment and retail heightened in the early contemporary architecture, which brought to life the Luxor Hotel (1993, Las Vegas) by Veldon Sympson,[37] with immersive experiences and a themed hotel experience around Ancient Egypt.[36] Contemporary Egyptomania architecture was themed around ancient Egyptian fantasicalization,[36] and an example of contemporary Egyptian Revival in residential architecture is Jim Onon's property built in the 1980s.[33] Jim Onan was a wealthy American who transformed part of his property in Illinois with an Egyptomania theme, which caused controversy.[30] The construction included an alley of sphinxes and multiple pyramids, with one being coated in 24-carat gold.[30]
An example of museum Egyptian revival architecture is The Royal Ontario Museum Metro Station by Diamond Schmitt, which was built in 2008 in Toronto, Canada.[38] As one of the most recent Egyptian Revival Architecture, it is entirely based on artifacts from the museum, including the hieroglyphs and the sculptures.[38] The architects consulted historians and scholars to design the station, the statue of a mummified Osiris with a king's headdress, and to replicate historical artifacts, which are all replicas from the ones in the museum, including all the hieroglyphs (based on the reliefs in the gallery).[34] This project aims to enhance the quality of life and connect history to the community.[34]
Many notable works in Britain featured attempts by architects to translate and depict messages inEgyptian hieroglyphs.[41] 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.[41]
In 1824, French classical scholar and EgyptologistJean-François Champollion publishedPrécis du système hiéroglyphique des anciens Égyptiens 1824, which spurred the first notable attempts to decipher the hieroglyphic language in Britain.[41]Joseph Bonomi the Younger's inscriptions in the entrance lodges toAbney Park Cemetery in 1840 were the first real recorded attempt to compose a legible text. An Egyptologist himself, Bonomi and other scholars such asSamuel Birch,Samuel Sharpe, William Osburne, and others[41] would compose texts for a variety of other British projects throughout the nineteenth century includingMarshall's Mill in Leeds, anaedicula in the grounds ofHartwell House, Buckinghamshire, and as part of an Egyptian exhibition inThe Crystal Palace after it was re-erected in southeast London.[41]
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".[41] 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 ofQueen Victoria andPrince Albert,[41] 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.[41]
Media related toEgyptian Revival architecture at Wikimedia Commons
