It drew upon the principles of French neoclassicism, but also incorporated Renaissance and Baroque elements, and used modern materials, such as iron and glass, and later, steel.

Their work was aided beginning in 1837 by the creation of the Commission of Historic Monuments, headed by the writer and historian Prosper Mérimée, and by the great interest in the Middle Ages caused by the publication in 1831 of The Hunchback of Notre-Dame by Victor Hugo.

Owing to the cultural politics of the late 19th century, British architects of Imperial classicism followed a somewhat more independent course, a development culminating in Sir Edwin Lutyens's New Delhi government buildings.

[citation needed] The Beaux-Arts training emphasized the mainstream examples of Imperial Roman architecture between Augustus and the Severan emperors, Italian Renaissance, and French and Italian Baroque models especially, but the training could then be applied to a broader range of models: Quattrocento Florentine palace fronts or French late Gothic.

Beaux-Arts training emphasized the production of quick conceptual sketches, highly finished perspective presentation drawings, close attention to the program, and knowledgeable detailing.

[5] All architects-in-training passed through the obligatory stages—studying antique models, constructing analos, analyses reproducing Greek or Roman models, "pocket" studies and other conventional steps—in the long competition for the few desirable places at the Académie de France à Rome (housed in the Villa Medici) with traditional requirements of sending at intervals the presentation drawings called envois de Rome.

Beaux-Arts architecture depended on sculptural decoration along conservative modern lines, employing French and Italian Baroque and Rococo formulas combined with an impressionistic finish and realism.

In the façade shown above, Diana grasps the cornice she sits on in a natural action typical of Beaux-Arts integration of sculpture with architecture.

Since Leopold was the grandson of Louis Philippe I of France, he loved this specific building style which is similar to and has its roots in the architecture that has been realized in the 17th and 18th century for the French crown.

They instituted teaching about a variety of architectural styles at the École des Beaux-Arts, and installed fragments of Renaissance and Medieval buildings in the courtyard of the school so students could draw and copy them.

Together, these buildings, drawing upon Renaissance, Gothic and Romanesque and other non-classical styles, broke the monopoly of neoclassical architecture in Paris.

However, a handful of significant buildings have nonetheless been made in this style during the period of 1880 to 1920, mainly being built in the cities of Rotterdam, Amsterdam and The Hague.

The National Bank of Romania Palace on Strada Lipscani, built between 1883 and 1885 is a good example of this style, decorated not just with columns (mainly Ionic), but also with allegorical statues placed in niches, that depict Agriculture, Industry, Commerce, and Justice.

Eclecticism was very popular not just in Bucharest and Iași, the two biggest cities of Romania at that time, but also in smaller ones like Craiova, Caracal, Râmnicu Vâlcea, Pitești, Ploiești, Buzău, Botoșani, Piatra Neamț, etc.

[13]: 76 The first American architect to attend the École des Beaux-Arts was Richard Morris Hunt, between 1846 and 1855, followed by Henry Hobson Richardson in 1860.

His Beaux-Arts training taught him to transcend slavish copying and recreate in the essential fully digested and idiomatic manner of his models.

[15] Beaux-Arts city planning, with its Baroque insistence on vistas punctuated by symmetry, eye-catching monuments, axial avenues, uniform cornice heights, a harmonious "ensemble," and a somewhat theatrical nobility and accessible charm, embraced ideals that the ensuing Modernist movement decried or just dismissed.

The third-largest Roman Catholic cathedral in the United States, its architecture predominantly reflects Beaux-Arts principles, into which Masqueray integrated stylistic elements of other celebrated French churches.