Neoclassical architecture, what is it called?

Neoclassical architecture is called royal style. Napoleon Empire established after the French Revolution replaced democracy with monarchy, but used the new tradition formed since the French Revolution in culture and art. Therefore, Napoleon Empire has an indissoluble bond with neoclassical architecture, which some people call imperial style.

Napoleon's two favorite neoclassical architects, Pierre Fran? ois-L？ Leonard Fontaine, 1762? 1853) and Charles? Percier (1764? 1838) and undertook many projects to make Paris a neoclassicism. These include the expansion of the Louvre, the classical decoration of Fontainebleau Palace, the planning of Wally Street in the north of the Louvre, the transformation of Concorde Square and the design of Champs Elysé es.

At the end of the north axis of Place de la Concorde, another building that best represents the imperial style, La Madeleine, was built by Pierre-Alexander VI-Nyon (1763? 1828), Napoleon asked himself and answered himself. It was not until he entered Moscow and was once full of ambitions that he decided on its final plan and officially named it "the glorious hall of the French army". It turned out that this church was also decided to be built during Louis XV, but the design scheme was changed again and again, and it was never decided. After the French Revolution, the church will be built completely in the classical style, which is no problem, but the specific arrangement is still controversial.

Napoleon finally agreed to Vernon's idea: to build it into an unprecedented Roman temple with the inscription "Emperor for all soldiers in the army", and all the details of its appearance were displayed in strict accordance with classical examples. Now we go north along Concorde Square. At the end of the Royal Street, we suddenly saw a tall and typical Roman temple standing in front of us. It really feels amazing. It seems that a Roman temple was suddenly moved to the streets of Paris like a flying peak. Its skill and style are more like a perfect imperial original than any Roman monument, and this is exactly what Napoleon and his architects want to impress people.

However, according to the academic level and technical conditions at that time, it was not difficult to keep the appearance consistent with the Roman temple. Therefore, Vernon's design is not novel in architectural history, although it is representative in majestic spirit and value orientation. Its real outstanding achievement is its internal structure. It turns out that the classical temple only opened a gate in front for lighting, and the roof was also flat-topped with wooden beams. The structure is very simple. The Roman Empire took the vault as an example, but rarely, the lighting problem has not been solved. At present, European architecture in the19th century should take the form of ancient Roman architecture, and the exterior can be completely imitated, but the internal structure must be innovated.

Vernon's approach is to build a unified hall inside. The roof is divided into three shallow domes with a skylight in the middle for lighting. According to Napoleon's wishes, marble tablets and gold and silver plaques should be erected in the hall. The marble tablet is engraved with the names of the French teams that participated in various victories. The silver medal is engraved with the names of all the soldiers who participated in the war according to the French provinces and regions, and the gold medal is engraved with the names of the soldiers who died. In addition, military flags, weapons, trophies and statues of generals are placed. Later, when Napoleon was defeated, the glory of the army also went up in smoke. The restored Bourbon dynasty changed it into a church, and the inner hall was regarded as a church with only one main hall. Small niches are separated on both sides as small churches, and semi-circular rooms are set at the terminal as altars. Generally speaking, the whole arrangement retains the effect of unity and harmony.

Vernon used three domes to open the skylight for lighting, which not only borrowed from the Roman Pantheon, but also absorbed the experience of British architects Rennes St. Paul's Cathedral and Sopholo Pantheon in using small domes as the roof of the main hall. He used the tall Corinthian column to undertake the dome arch, and the smaller Ionian column to divide the wall and the niche pavilion, which was practical without losing the classical charm, indicating that even if the neoclassical architecture completely copied the classical model in appearance, the internal structure would still have amazing innovation. Apart from the classical temples like Madeleine Church, the pure classical building that Napoleon valued most was the Arc de Triomphe.

The Arc de Triomphe is not only a full-fledged classical cultural relic, but also the best building to commemorate and publicize his military achievements, so the best imperial souvenirs he left for Paris are the two Arc de Triomphe of different sizes. The first smaller Arc de Triomphe was built by neoclassical architects Fontaine and Charles? Percier designed the Arc de Triomphe in Carroussel to commemorate Napoleon's military victory in the Battle of Austerlitz. It is located in Carroussel Square in the Louvre, built in 1806? During 1808, it was used as the entrance to Tuileries Palace. The Du Le Li Palace is located between the Louvre and the Place de la Concorde, but it was burned down and completely demolished during the Paris Commune Revolution, leaving only the Du Le Li Garden.

With the disappearance of Tuileries Palace, the Arc de Triomphe of Caruso became the main symbol of Caruso Square. So now, when we look at the Arc de Triomphe from the Louvre, we find it is located in a very beautiful garden. In the distance, you can see the Egyptian obelisk in the center of the Place de la Concorde, and even the highest Arc de Triomphe at the end of the Champs Elysé es when the weather is fine, which constitutes the most beautiful part of the urban landscape in Paris. The Arc de Triomphe in caruso, its designers Fontaine and Charles? Percier was quite faithful to Napoleon's instructions, taking classicism as a model, and copied the Seville Arch in Rome Square almost intact.

The layout of the small arches on both sides of the central arch, as well as the use of four prominent cylindrical sanitary doors, the statues erected on the pillars, the pavilions erected on the doors and the chariots placed on the pavilions are all copied, but they are skillfully used, especially the details such as the eaves of the arch columns are quite accurate, and the overall outline and proportion are not lost in classical solemnity. But compared with the second and most magnificent Arc de Triomphe, what about Fontaine and Charles? Percy's Arc de Triomphe is a bit petty. The second Arc de Triomphe is located in the Plaza of Stars at the end of the Champs Elysé es, so its official name is the Arc de Triomphe, but because it is the most famous scenic spot in Paris, people also call it the Arc de Triomphe.

For example, the older generation of Dan (Jean Chalgreen, 1739? 18 1 1 year), from the very beginning, it surpassed all the Arc de Triomphe and even the fa? ades of all churches and palaces. It is 54 meters high, while the caruso Triumph mentioned above is only 16 meters high, only its 1/3 height. It is said that Napoleon set such an unprecedented height because he had the shadow of St. Peter's Cathedral in his mind. The facade of this cathedral is 48 meters high, so he wants to compare it with his own Arc de Triomphe.

The cleverness of Xia Gelan is that he understands that such an unprecedented scale can only take an unusually broad proportion. He can't be like Fontaine and Xiaer, can he? Percy was too cautious in applying the classical model, so she gave up the layout of one big door, two small doors and returned to the simple single arch door form. This kind of single arch arc de Triomphe was very common in the early Roman Empire, but they were generally with a single arch in the center larger than the buttresses on both sides, and were also decorated with four columns, and the top pavilion was higher.

Shagland boldly changed these specifications in an all-round way. His Arc de Triomphe is not only a single arch, but also as big and more magnificent as the buttresses on both sides. At the same time, all the column decorations were cancelled, and the arch wall clamped the arch like two big walls, leaving a large area of plain white wall for relief decoration. The pavilion on the roof has also been greatly reduced and turned into a decorative belt decorated with a round shield (the names of Napoleon's previous victorious battles are engraved on the shield). Generally speaking, this arc de Triomphe, which is almost 20 stories high, looks very simple and refreshing, as if it were erected by several large components.

Because of their huge size and fine and regular additional carvings, their simplicity is more solid and powerful, and their classical simplicity and grandeur are really impressive. Like several other major projects that began in the Napoleonic era, the Arc de Triomphe was completed long after the empire disappeared and Napoleon died with resentment. At this time, people have long forgotten their original imperial feats, but their classical image has been entrusted with shaky ideals, so the French people have always regarded the Arc de Triomphe in Paris as a symbol of patriotism.