This style remained important in Hungary from the 9th to the 11th centuries, and similar motifs can be found in the contemporary decorative arts of the Caucasus, Iran and Middle-Asia.
During this period the combination of styles originating in the steppes with those of the European Romanesque produced a rich heritage, with noticeable parallels in the art of the Scandinavian Vikings and the Celts of Western Europe.
Fine examples survive at Székesfehérvár, Gyulafehérvár, Esztergom, and Pannonhalma, while recently opened lapidariums at Pécs, Veszprém, and Eger display remains from this period.
King Matthias Corvinus of Hungary had close ties with Italy, and Italian influence is clearly evident in architectural complexes built during his reign, such as his palaces in Buda and in Visegrad.
This time was also a period of renewal for churches in an architectural sense, with inner spaces displaying fresh and delicate ornamentation, particularly in the use of plant forms.
Most of the early surviving buildings in Hungary today are in this style: not only churches, but also castles e.g. Fertőd, town halls (Szeged), monasteries (Zirc), cathedrals (Kalocsa), colleges (Eger) and the royal palace at Buda.
After the Age of Reform, in the early 19th century ancient Greek traditions were revived, with the consequent construction of such neo-Classical buildings as the Hungarian National Museum.
One of the greatest architects of his age was Ödön Lechner, who planned the Museum of Trade Art, The Hungarian Geological Institute, the town hall of Kecskemét, and the Saint Ladislaus Church at Kőbánya, Budapest.