Neo-classical style of architectural and interior design; as Egyptomania or Egyptiennerie it reached its peak during the late 18th century and early 19th. Napoleon’s campaign in Egypt (1798) coincided with emerging tastes both for monumental and for richly ornamental forms, enhanced by the literary and associational concerns of Romanticism. Unlike its Greek and Gothic counterparts, the Egyptian Revival never constituted a coherent movement with ethical or social implications. Indeed, since its earliest manifestations occurred in the later Roman Empire, the Revival itself can be seen as one in a series of sporadic waves of European taste in art and design (often linked to archaeological inquiry), acting as an exotic foil to the Classical tradition with which this taste was and remains closely involved. On a broader plane of inquiry, the study of Egyptian art and architecture has continued to promote a keen awareness of abstraction in design and a decorative vocabulary of great sophistication. These are among the most enduring contributions of ancient Egypt to Western art and design. See also EGYPT, ANCIENT, §XVIII, 4.

• Egyptian Revival
  • Orientalism, §1: Introduction
  • art forms
    • architecture
      • Egypt, ancient, §XVIII, 4: Art historians
      • Pyramid, §3: Later history
    • gateways
      • Canina, Luigi
    • interior decoration
      • Piranesi, Giovanni Battista, §1(iv)(b): The Carceri, and architectural and design commissions, 1760–69
  • regional traditions
    • France
      • Denon, Vivant