Towards the close of the last century there arose in England a decided fashion for Greek columns and pediments, which was brought about by the publication in 1762 of the discoveries by Stuart and Revett at Athens, and was still further stimulated by the bringing to England of the Elgin marbles in 1801, so that every building of any importance, whether church or school or country residence, had its portico with Doric, Ionic, or Corinthian columns. Thus began the Greek revival; then followed the more slender columns, with arches and vaults, of the Roman; and to these were very shortly added the cupola or the dome and the balustrade of the Renaissance.
In London, the Bank of England by Sir John Soane, the British Museum by Robert Smirke (a pupil of Soane’s), the University by Wilkins, were all built early in this century, as were the Fitzwilliam Museum, Cambridge, and the High School at Edinboro, magnificent colonnades adorning the front of each. St. Pancras Church, in London, has a spire of superimposed copies of the Temple of the Winds at Athens—each smaller than the one beneath it,—and there are side porches which reproduce the caryatid portico of the Pandroseum. But the most successful building in England which was designed upon Greek lines is St. George’s Hall, Liverpool, which has a central hall lit from above; at either end is a court-room, and beyond, at one end, is an Odeon, or Music Hall.
The taste for classical design gradually declined in England, and a new cult was assiduously propagated through the writings of Pugin, Brandon, Rickman, and Parker, whose text was that classicism represented paganism, and this, together with the remodeling of Windsor Castle, in 1826, by Sir Jeffrey Wyatville, caused a general interest in the revival of Gothic architecture; for some time, however, much illiterate work was done in the adjustment of old forms to new conditions.
Throughout the last half of this century, the battle of the styles has been maintained by the adherents of the differing schools with varying success, and, although there may be notable examples to the contrary, it has virtually resulted in the adoption of Gothic designs for ecclesiastical buildings, conditions being much the same as formerly for these structures; whereas, for secular buildings, with ever-changing requirements, the classic or the Renaissance, which has shown even greater pliability, has been considered more appropriate.