Renaissance had taken no share in these attempts of Germany; from the beginning of the century external requirements introduced into its classicism elements which naturally led to the Renais sance. French architects at Rome studied the works of the Renaissance as well as those of the antique, and so without many theoretical disqui sitions the Renaissance gradually revived. A few new combinations were attained, and brought about a certain picturesque and at the same time pompous effect. In this style, which developed itself quite naturally, the later Paris has been built. The houses are kept the same height through out, the straight streets and the public buildings afford no variety, but an imposing effect is produced by the grandeur of the totality, in which each individual building appears as a part of the whole.
With the new empire of Napoleon III. terminated this tendency, examples of which are to be found everywhere in France. Its complete image is to be found in the group which was finished by Napoleon III., and which resulted in the union of the Louvre and the Tuileries into one palace and the rebuilding of the adjoining parts of the city. We have represented here the result of the architectural oscillations which con tinued from Francis I. to Napoleon III. (fl. 5o,fig. 6). The Exposition Buildings at Paris (fig. 5) express the same result.
In England, in like manner, the Renaissance developed out of classicism. Russia, tinder French influence, took the same step, and Italy—where certainly artistic sentiment, when compared with its palmy days, had fallen very low—joined the Renaissance movement.
Semper.—In Germany, Gottfried Semper was above all active in this direction in Dresden. In 1S37-184o he built the Court Theatre (fig. 4), a much admired masterpiece; this was followed by the Oppenheim House and the Villa Rosa, and also by the Museum (fl. 5r, Jig. 4), which was designed to close in the Zwinger, and, notwithstanding certain deviations introduced against the master's will, as he was compelled to leave the country, is one of the most important structures of our time.
About the middle of the century, while Semper was active at Zurich and built the Polytechnic there, masters who had previously followed other directions adopted the method of Semper—among them (at Munich) Lud wig Lange, whose museum at Leipsic, without being of great dimensions, is important in its artistic relations.
About the middle of the century Architecture made a new start at Stuttgart, and the masters took the edifices of the Renaissance for their model. The fact that so many young architects went to Paris for a longer or shorter time for their improvement was not without influence. Leins and Egle were the first among the leading representatives with whom the younger generation fell in line. The crown-prince's villa at Berg, a work of Leins, was the first important structure in this direction; the Konigsban at Stuttgart, with its imposing colonnades, has many relations to the antique, yet in consequence of its principal features can be reck oned only as Renaissance. There followed the Polytechnic, the post
office, the Academy of Architecture, and the railway-station, the last by Wolf under the direction of Morlok. Gnauth, perhaps the most talented artist, and the most in demand, of the younger generation, sought to reach a more picturesque effect by a strong leaning toward the baroque.
In Munich, Neureuther followed the pattern of the Renaissance in his Polytechnic, displaying, indeed, no magnificent ensemble, but exhibiting much charming detail, and found great acceptance, principally among the educated Blass; so that at Munich also the victory of the Renaissance over the style of the future, as well as over the antique and the pseudo-Roman esque, was decisive, especially after a number of masters had arisen who followed with determination the methods of the Renaissance.
In Vienna, Hansen, who began with the pure antique which he culti vated in Greece, and who, after settling at Vienna, exercised himself in Sehinkel's manner—induced more by external occasion than by internal impulse—determined to go over to the Renaissance. The Sina Palace on the High Market, the Protestant school, the Heinrichshof, the building of the Musical Society (pi. jig. 8), and the Epstein Palace (fig. 9), are, among many others, the most artistically important of the new edifices of Vienna, to which may be added the Parliament House, the Exchange, and the Academy of Pine Arts.
Van der Nhll and Siecardsburg also adopted the Renaissance in the opera-house, yet could not repress all the older Romanesque reminiscences. They inclined more to the French works of the time of Francis I. than to the Italian. Ferstel, in the palace of the archduke Karl Ludwig, more consistently adopted the Renaissance, and the many skilful architects who were engaged on the new edifices joined him and Hansen. Among the great and constantly-increasing number of masters and edifices it would be difficult to name even the most important; it may, therefore, be per missible simply to refer to this astonishing building activity, and to enu merate only a few structures which serve public purposes, such as Perstel's chemical laboratory, the Royal Museum of Art and Industries and the new university, \Veber's House of Artists and the buildings of the Hor ticultural Society, Flattich's Southern railway-station, as well as the State railway-station and that of the Northern Railway, and, as an example of the baroque style of the younger Forster, the Opera Comique. Yet must not omit to mention the name of Tiess, who erected so many struc tures, especially the Grand Hotel. Among the later works are the group formed by the two imperial museums by Hasenauer and the reconstruc tion of the castle, which Semper undertook after settling at Vienna. Though they served only a temporary purpose, yet the structures of the Vienna Exposition, to which Hasenauer gave architectonic forms, should not remain unmentioned, since they were for a time the topic of general conversation.