The Building

Construction on the Roman Athenaeum began in 1886 under the supervision of famed architect Charles Garnier, the mastermind behind the neo-classical achievement called the Paris Opera House. While finishing up on the National Bank of Romania, Garnier was approached to design the Athenaeum by Escaru who shared a mutual love for the simplistic, yet elegant themes of Neoclassicalism.

Due to a strict budget, the site chosen was not in the desired city center, but further north in an unfinished equestrian estate. Contemporary techniques for fire prevention and earthquake resistance, and modern materials like steel rafters were utilized to reinforce the neoclassical facades and central dome which symbolized the vogue Greco-Roman philosophies of learning and wisdom.

Notable Architectural Details

Neoclassical examples of the Roman Athenaeum include:

• Triangular pediments reminiscent of Greek Temples;
• 8 Exterior columns at 12 meters in height are imitations of the Erechtheion in Athens, Greece.
• The Tripod towering above the great circular dome is modeled after the Monument of Lysicrates (Demosthenes Lantern) in Athens. This was a prize awarded to ancient Greek in statewide competitions for poets and artists.
• Above the entrance are 5 medallions of notable Romanian, Wallachian, and Moldovan voivodes:

1. 1. Alexandru cel Bun,
   2. Neagoe Basarab,
   3. Vasile Lupu,
   4. Matei Basarab
   5. King Carol I

Architectural Style

While Neo-classicalism began at the end of the 17^th century, it took several decades for styles to trickle down from France and Rome to Eastern European countries such as Romania. While the Athenaeum was built during the Neo-classical period, elements of Baroque and Rococo phased out to a more strict and symmetrical sense as they adapted to contemporary neo-classicalism.

Three particular techniques employed in the Athaneum reflect the Baroque and Rococo themes that were slowly phased out for the prominent Neo-Classical style. Pink stucco marble columns are capped with traditional iconic capitals; carrara marble double-staircases which twirl down from the playhouse are muted against the pastel green and yellow walls. And finally, the Dome’s prominent proportion to the rest of the building, a baroque tactic used in Rome when space wasn’t readily available, but dynamic contrast allowed larger-than-life optics.