"This undermined the political power of the old society of landed and established religious interests was now followed by a further acceleration of capitalist-led social and economic transformation".

[3] This means that to represent Scotland's more socialist outlook, buildings focused on serving the community as a whole, not just an elite or selective audience.

[3] To further portray the socialistic thinking, the Commercial Bank's style focused a great deal on unity, a fundamental value of the belief.

"The whole is sculptured in a very high style of art, the prevailing feeling of the different groups being in harmony with each other, blending into a whole, and so uniting with the details and general effect of the edifice as to combine the tout ensemble into an interesting and delightful unity".

"From the mid- 1830s and early 1840s, while Thomas Hamilton and Playfair had continued to exploit the potential of explicitly Grecian architecture, William Burn, David Bryce (Burn's partner 1841–1850) and David Rhind had begun to move towards an astylar, Italian palazzo-like classicism for some commercial buildings and club-houses, and a Graeco-Baroque grandeur for others – in both cases, combined with a somewhat Greek sharpness of detail".

"The front of this banking-house, a really magnificent structure, which has been erected in George Street, exhibits a Corinthian hexastyle portico ninety-five feet in width, of great general beauty, and having a bold but not obtrusive projection; the columns of which it is composed, six in number, as the name of its style indicates, are thirty-five feet high, of very graceful proportions, with a happily adapted intercolumniation, and having elegant well-relieved and spiritedly carved capitals".

David Rhind clearly took advantage of light source, by constructing the dome of glass, as well as giving the building a more modern appeal.

Although one of many buildings in a Greek Revival style, The Dome stands unique on George Street with its stunning pediment and long rich history.