Apart from foreign influences, the contribution of Romanian architects, who reinvented the tradition, creating, at the same time, an original style, is manifesting more and more strongly.

[5] Ion Mincu and his successors, Grigore Cerchez [ro], Cristofi Cerchez, Petre Antonescu, or Nicolae Ghica-Budești declared themselves for a modern architecture, with Romanian specific, based on theses such as those formulated by Alexandru Odobescu around 1870: "Study the remains – no matter how small – of the artistic production of the past and make them the source of a great art (...) do not miss any opportunity to use the artistic elements presented by the Romanian monuments left over from old times; but transform them, change them, develop them ..."Of course, such a program was not easy to accomplish.

All the more so as the new types of urban architecture, especially those with many floors, demanded simple solutions, which hardly supported the world of medieval forms and ornaments or that of folklore, the main sources of inspiration of the style.

[6] The heyday of the style were the 1920s, when many Romanian Revival houses, churches and institution buildings were erected, both in Bucharest and in the rest of Greater Romania.

Brâncovenesc buildings are characterised by the use of porticos (mainly the entrances of churches), trilobate or kokoshnik arches, columns (usually Corinthian), sometimes with twisted flutings, and metallic or ceramic tile roof.

Some of the ornaments of some Neo-Romanian buildings from the Belle Époque are made of polychrome glazed ceramic, as is the case of the Școala Centrală National College in Bucharest.

[9] Considering the fact that most Romanians were and are Orthodox, the architects sometimes added Byzantine-inspired elements (like the two peacocks drinking from a cup) or with Christian significance.

This thing is inspired by the cule, a type of semi-fortified construction, specific to the 18th century, spread throughout the Balkan space, including Romania, especially in Serbia and Albania.

They effectively marked the birth of Romanian Revival architecture with all the persistence of eclectic or, in general, historical tendencies.

From this point of view, the Buffet is very characteristic, being one of the most successful buildings (initially designed as a Romanian pavilion at the 1889 Paris Universal Exposition), which is, on the whole, in line with the balance of Brâncovenesc architecture.

Above the protruding cornice of the ceramic entablature, wooden pieces appear again: the ends of the transverse beams and the corbels that hold the very wide eaves of the roof.

And as important spaces remain visible between the beams and corbels, the roof - large, high and covered with tiles - seems suspended.

Eclectic elements appear in the ceramic ornamentation: Classicist geometric motifs or Renaissance floral motifs (but interpreted wavy, in the Art Nouveau spirit), which cover the entire surface of the gazebo masonry and the technique itself, of the high relief, colored in white, blue and ocher, of the Luca della Robbia type, contrasts with the relative sobriety of the old Romanian architecture from which, obviously, it started.

It combines a series of elements that belong to either the international or the local repertoire: monumental plinths with large bossages, massive pieces (columns and corbels, and keystones, oversized) often with a purely decorative function, suggesting archaic or rustic buildings; reliefs mix national inspiration (Moldovan window ornaments, capitals and balustrades of Brâncovenesc inspiration, etc), with those of the symbolic European heraldic repertoire (shields, dragons, eagles, griffins, shells, etc); as well as traditional forms of gaps, trilobate or in brace/kokoshniks, mixed with other ones, semicircular, retreating portals, of Romanesque or Renaissance proportions and profile, etc.

[17] In addition to architecture, the Romanian Revival style manifested itself in other media, including graphic design, pottery, furniture and illustration.

Using example from world art history, he tries to find ideas for his creation and for how an authentic Romanian style should look like.

As a key feature of this style, he recommends elements of Byzantine art, present in medieval Romanian architecture.