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Talk:Connacht

The spelling of Connacht
Connacht spelling used in the article as it is by far the most common version used, rather than the older english spelling of Connaught.

 * Hmm...I've always seen "Connaught." Certainly the latter is not merely a "little-used old English spelling". john 08:59, 21 Dec 2003 (UTC)

 * Connaught has 268,000 references in google, while "Connacht" has only 103,000. (Some of the references to Connaught do not, however, refer to the Irish province)  The "Connaught" spelling is, however, used by various Irish sites, including the Connaught Telegraph, presumably a newspaper published in the region...my Rand-McNally atlas, which is usually pretty good about using the contemporary spellings, also uses "Connaught".  I tend to think it ought to be moved to "Connaught". john 09:02, 21 Dec 2003 (UTC)

Connaught is to Connacht what Peking is to Beijing. In phases during the twentieth century a group of clumsily anglicised gaelic names (Leix for Laois, Dunleary for Dun Laoghaire) were phased out (in reality, binned) and replaced by their original gaelic anticedents. Connaught is one of these. It remained in usage until the mid-20th century before being respelt in the original gaelic, which is now the correct form in both Irish and english. Part of the change was linked to the introduction of a new latin alphabet into Irish. My 'wikipedia' surname in old Irish used to be spelt Ó Dubtaig (with a dot over the b and g.) For decades now it has been spelt as Ó Dubhthaigh, the dot (I forget the technical term for it) having indicated a place where a h was pronounced but not written in the old gaelic script. Connacht is the correct modern name and has been for decades. Connaught is an old and bad anglicisation akin to Peking. Connaught is still used by people internationally unaware of or uncomfortable with the change, just as they still write Dunleary. (Indeed a small group still call Dun Laoghaire Kingstown and Cobh (which itself was wrongly anglicised as Cove at one stage). But while it was OK to write Connaught until I think the 1960s, just as it was OK to write Peking until the 1970s, both are now old anglicised versions that are incorrect to use today.

As to google searches, google searches here as in so many other areas, are worthless. Most websites are based in the US and reflect US linguistic usage. Connaught is still widely used by Irish-Americans who always read that spelling and continue to use it, their image of Ireland and its nomenclature reflecting inherited definitions, colloquialisms and spellings rather than a contemporary usage. On a side point, that is why, even though the people on the island had long disowned the use of voilence, Irish-Americans tended to be more supportive of the IRA and such groups, they seeing them not as modern Irish people saw them, namely as terrorists, but as 'freedom fighters' akin to those who fought for Irish independence under the same name 80 years ago. It is said about Irish-America that it is usually three to four generations behind Ireland in attitudes. Hence Irish-Americans, to give another example, tend to place heavy emphasis on Roman Catholicism, on Pearse, the Fenians, the Easter Rising, etc., whereas contemporary Ireland is abandoning RCism, has less of an interest in the Irish language (more people in the island speak Chinese as a first language than Irish) and are less enamoured of traditional republicanism. Irish Americans visiting Ireland for the first time are astonished to find empty churches, no Easter Rising Parades anymore and the President of Ireland attending Royal British Legion Remembrance Day ceremonies in St. Patrick's Cathedral. (And they were flabbergasted last year to find Alex Maskey, the Sinn Féin Lord Mayor of Belfast, laying a Remembrance Day wreath in honour of Northern Irish soldiers who died in the First World War, fighting for the British!)

Which is a roundabout way of saying - Connacht is the modern correct spelling in Irish and english, Connaught an out of date anglicisation no longer used in Ireland or among those with contact with Ireland. Connaught is simply an old bad anglicisation still used among the Irish diaspora (largely in the US), their usage of the old spelling reflecting their tendency to be out of step with contemporary Irish attitudes to spelling, language, religion, politics, Anglo-Irish relations and much else besides. And google, as it is prone to do, reflects the cultural and linguistic norms of website creators (largely US orientated) not accuracy. But accuracy is the bottom line in an encyclopædia. Here endeth the lesson. :-) FearÉIREANN 23:38, 21 Dec 2003 (UTC)

Re the atlas, it is depressing but not surprising. I guess even those who should have done their homework better sometimes don't. The fact that they use Baile Atha Cliath for Dublin suggests they are still using names copied from older maps circa mid-20th century. At that stage, many Irish towns adopted the Irish version of the name as the official version as an attempt to force Irish usage on an unwilling populace. So though the world had heard of the Book of Kells, Kells itself on maps was called the rather ludicrous Ceannanas Mór. (That too was binned in the 1980s.) But Baile Átha Cliath never took off on maps, Ceannanas Mór even less so and have long been binned. It sounds like some map makers should stop simply transposing old map names unto new maps and start from scratch with what is used now, not what was used up to the 1950s, 1960s and 1970s. Or maybe, because of the similarity between Connacht and Connaught, they presumed that one was the Irish language version, one the English. If so they are mistaken. Connacht is the correct verion in both Irish and english, Connaught the old, now unused badly anglicised version akin to Peking. FearÉIREANN 23:38, 21 Dec 2003 (UTC)

 * Hmm...well you've certainly convinced me that the article should be at Connacht. However, I think that the article should begin with "Connacht (sometimes Connaught)", or something like that.  Peking (and also the very rarely used Pekin and Pei-ching) is bolded in the Wiki article on Beijing, for instance.  john 00:47, 22 Dec 2003 (UTC)

 * While I am quite happy to see the article at Connacht, I would balk at saying that Connaught is a bad anglicisation of its sound. Remember that 'gh' was originally pronounced as 'ch' in English words like 'right', 'light', 'ought', 'rough' etc -- in fact it still is in Scots.  So the 'Connaught' spelling would have been pronounced in exactly the same way as the 'Connacht' spelling at the time when it was introduced -- not using its modern 'Connott' pronunciation.  Linguistic changes in English over the last few hundred years may have made 'Connaught' a misleading spelling for modern English speakers who expect 'gh' to be silent, but it wasn't always so. -- Derek Ross

 * I agree that Connacht is the better choice for this entry. My family lived in Ireland from 1980 to 1982, and I visited them during summer vacations.  At that time, the form Connacht was the only one I observed in publications, etc.  It was only later that I came across the form Connaught (I had a similar experience with the Laois/Leix example cited above; I believe that was also spelled "Laoighis" before orthographic reform took place).  Furthermore, the Library of Congress authority file (http://authorities.loc.gov) prefers Connacht to Connaught, citing a few reference sources in support of that decision.  Nevertheless, I can see why doubts would remain.  The GEOnet name server still gives Connaught as the authorized form, with Connacht as a variant.

 * In addition, I notice that the section on the Duke of Connaught duplicates information in the Duke of Connaught article. Could the former be deleted without harm?  Or if it is felt that Connacht and the Duke of Connaught should be linked, could that be managed with a little less repetition? -- Flauto Dolce 15:15, 1 Jan 2004 (UTC)

I'd say a link to Duke of Connaught would be sufficient. john 20:52, 1 Jan 2004 (UTC)

Quote: 1 The change in spelling was in part a result of a change in the use of script in Irish from Gaelic to Latin lettering. Many names and spellings of names were changed as a result. Connaught, which was based on an anglicisation of Connacht (the acht is pronounced as aught), was phased out from official usage and the Gaelic Connacht used in both the Irish and English languages. The older spelling is still used by some internationally, though its usage is in decline.

 * The change really has nothing to do with Gaelic v. Latin lettering: as far as Connacht is concerned, that merely changed "c with a dot" to "ch".
 * "the acht is prounced as aught": no, it isn't (except by some English speakers. In Ireland the reverse is true: where "Connaught" is still used the aught is pronounced acht. -- 217.44.142.112 17:39, 8 May 2004 (UTC)

 * The change was not merely Gaelic to Latin lettering (including using h instead of a dot to modify consonant sound), but also standardising Irish spelling (there were a great many irregularities before this). Thus, all sorts of spelling rules/traditions changed.
 * In general there is some amount of confusion when using Anglicisations. For example, both Lehinch and Lahinch are seen on roadsigns around An Leacht, both Ennistymon and Ennistimon. In recent years the govt. has even messed up Irish placenames, with Mala standing as a re-Gaelicisation of Mallow (itself an Anglicisation of Magh Ealla). Some particular places, as mentioned earlier, came in for special attention and attempts were made to use only the Irish, not the English. Some were successful (Port Laoise instead of Maryborough, Dún Laoghaire instead of Kingstown, Cóbh instead of Queenstown), others not as unanimously (Rath Luirc sometimes for Charleville, Muine Bheag sort of replacing Bagenalstown but not completely, Ceannanas Mór didn't take over from Kells).
 * Connaught/Connacht is definitely in the latter category. Not completely successful, but Connacht is not confined only to official use either. So using Connacht makes sense, as it is used officially, and often colloquially also.
 * Oh, as regards Google? Searching only Irish pages: 45,600 for Connaught, 69,800 for Connacht.
 * zoney ♣ talk 13:51, 15 Feb 2005 (UTC)
 * That pattern 2:3 pattern is repeated in Irish government pages too (including some in Irish): 632 for Connaught and 1070 for Connacht  and 4 for Connachta.  So difficult to say Connaught is never used officially.  --Henrygb 23:27, 26 July 2005 (UTC)

The Eagle of Connacht
Flag- Some info on the flag would be good. For example why an Irish province has half of the "Albanian eagle" or the "Byzantine/Orthodox Eagle" on its flag?

 * Erm. It's just half of some random eagle-ish bird that suffices. The closest I could find to common representations was the one from the Albanian flag. It's not some official link or tradition. Just to clarify.
 * zoney ♣ talk 13:51, 15 Feb 2005 (UTC)

- I found a flag that looks less Albanian if you're interested... http://www.crwflags.com/fotw/flags/ie-conn.html --Thano 08:50, 16 Feb 2005 (UTC)

 * That is a copyrighted work. If you can find a free-licence Connacht flag, or obtain suitable permission - go ahead. The reason for my creating a new flag and using the Albanian flag's eagle was to have a GFDL flag. zoney ♣ talk 11:45, 16 Feb 2005 (UTC)
 * Um, Zoney, have you some evidence that just any ol' half-raptor will do? Evertype 22:20, 5 September 2006 (UTC)

Technically speaking...
'Which is a roundabout way of saying - Connacht is the modern correct spelling in Irish and english' this is not quite true, although it is a common misconception. The nominative case for Connacht in the Irish is Connachta, not Connacht. Connacht, in Irish, is the genitive case e.g. Cúige Chonnacht. El Gringo 01:34, 11 June 2006 (UTC)

 * Whether they are right or not, official Ireland says that the Irish spelling is "Connacht". See http://www.iso.org/iso/iso_3166-2_newsletter_ii-1_corrected_2010-02-19.pdf ISO 3166-2 Newsletter II-1. Wikipedia has to be source based, not based on what editors think is correct. The source here is "Ordnance Survey Office, Dublin 1993" (as listed by the ISO itself).I will amend the article accordingly. Frenchmalawi (talk) 14:41, 30 December 2012 (UTC)

Early History of Connacht
It would be good to review the "early history" section for content which is mythological, rather than historical. Perhaps a "Connacht Mythology" section would be in order. Renglish (talk) 03:04, 29 December 2011 (UTC)

y

 * 1226. Nuala, daughter of Roderic O'Conor, and Queen of Ulidia, died at Conga Fechin Cong, and was honourably interred in the church of the Canons at Cong.
 * ''1230. Melaghlin Mac Firedinn, a noble priest and a professor of literature, died in his monastic noviciate in the monastery of Boyle.
 * 1235. Madden O'Madden, Lord of Sil-Anmchadha, died.
 * 1236. Mulmurry O'Laghtnan was appointed to the bishopric of Tuam, and went to England, where he was consecrated, after having received the Pope's letters, by consent of the King of England.
 * 1238. Felix O'Rooney, Archbishop of Tuam, after having some time before resigned his bishopric for the sake of God, and after having assumed the monastic habit in Kilmurry Mary's Abbey, in Dublin, died.
 * 1241. Bishop O'Flaherty (i.e. Murtough), i.e. the Bishop of Annadown, died.
 * 1243. Malone O'Creghan Crean, Archdeacon of Tuam, after having returned across the sea as a professor, died in Dublin.
 * 1244. The Archdeacon of Tuam was drowned in the Glaislinn of Cluain.
 * 1245. Donnell O'Flanagan, Abbot of Cong, died.
 * 1247. Conor O'Murray, Bishop of Hy-Fiachraclh Aidhne Kilmacduaggh, died at Bristol.
 * 1247. Finola, daughter of Roderic O'Conor, died at Conga-Fechin Cong.
 * 1248. Dermot O'Cuana, the great priest of Elphin, died, and was buried at Kilmore.
 * 1249. Mulmurry O'Laghtnan, Archbishop of Tuam, a proficient in the canon law, died in winter, a short time before Christmas.
 * 1250. Thomas O'Meallaigh, Bishop of Annadown, died.
 * 1255. O'Laidig, Erenagh of Annadown, died.
 * 1256. Gilla-an-Choimhdheadh O'Kinnfaela, Abbot of Annadown, died.
 * 1256. O'Gillaran, Abbot of Trinity Church at Tuam, died.
 * 1258. The Bishop's palace at Elphin, and the palace of Kilsesin, were demolished by Hugh O'Conor.
 * 1268. Hugh, son of Conor O'Flaherty, Official of Annadown, died.
 * 1269. Christina, daughter of O'Naghtan, and wife of Dermot Midheach Mac Dermot, the most hospitable and chaste woman of her tribe, and the most bountiful to the order of Grey Friars, died, after the victory of penance.
 * 1270. Tany More, son of Duinnin, son of Nedhe, son of Conaing Boy O'Mulconry, was elected to the chief ollavship of Connaught; and the ollavships of Dubhshuileach O'Mulconry and Dunlang O'Mulconry were abolished.
 * 1297. William O'Duffy, Bishop of Clonfert, fell from his horse, and died in consequence.
 * 1304. Conor, son of Hugh O'Conor, was slain by Hubert O'Flaherty, after he had acted treacherously towards Donough O'Flaherty. Hubert was killed in retaliation immediately after this.
 * 1306. Donough O'Flaherty, Bishop of Killala, the most eminent of the Irish for piety, died at Dunbuinne, on his way to Dublin, and was interred with honour at Mullingar, in the house of the Blessed Virgin Mary.
 * 1328. Thomas O'Meallaigh, Bishop of Annadown, died at Rome.

Just for now. Fergananim (talk) 02:12, 27 March 2010 (UTC)

z

 * AI777.4 The drowning of more than a hundred of the Connachta at Tír dá Glas. Fergananim (talk) 18:53, 10 September 2010 (UTC)

Lough Ce
LC1531.12 Tuathal O'Domhnallain, from Machaire-Maenmhaighe, mortuus est.

I don't think this article has enough italics
/s —Preceding unsigned comment added by 24.224.181.201 (talk) 15:30, 9 March 2011 (UTC)

The Annals of Ulster
Why is there so much detail from the Annals of Ulster on this page? Would it not make more sense to link to (or create) another article on this subject? As it is the useful information in this piece is swamped by sections on the Annals. Laconic Loiner (talk) 13:12, 5 July 2012 (UTC)
 * Yes, it's completely over the top in this article. A summary is needed, with a link to a new "main article". SixtyNineSixtySix (talk) 22:11, 19 April 2013 (UTC)
 * Done. Barryjjoyce (talk) 03:19, 4 September 2014 (UTC)

Pronunciation
A similar question to that of spelling is pronunciation. As of now, only the anglicised pronunciation is given, but many in Ireland pronounce it /kɔnəxt/ even in English. I think this should be added. — Preceding unsigned comment added by 217.93.193.53 (talk) 12:18, 7 June 2013 (UTC)

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Requested move 13 August 2021

 * The following is a closed discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review after discussing it on the closer's talk page. No further edits should be made to this discussion.

The result of the move request was: Not moved per consensus. No such user (talk) 14:28, 24 August 2021 (UTC)

Connacht → Connaught – Connaught is the English name, Connacht is the Irish name, Wikipedia uses the English names for Ulster, Leinster and Munster (Not the Irish names: Ulaidh, Laighin and Mumhan). We need to fix this inconsistency. Connaught is also used by major websites like Google and Britannica. I am aware that “Connacht” is the official name in both English and Irish, but English Wikipedia uses the English name for places in the Republic of Ireland even when their not official like Dingle, Gweedore and Newbridge. (Instead of An Daingean, Gaoth Dobhair and Droichead). Ale3353 (talk) 07:16, 13 August 2021 (UTC)
 * Oppose Both appear to be regularly used in English language sources (although Connaught seems to bring up just as many hits for the hotel in London as the Irish city. As the nomination notes, Connacht is also the official name in English as well. Between WP:COMMONNAME and WP:ENGVAR, I don't believe this move is warranted.--Yaksar (let's chat) 13:22, 13 August 2021 (UTC)

 * Support - The English version is much more used and employed and worthwhile on Wikipedia, however the Irish equivalent’s equal status should be made clear AlbusWulfricDumbledore (talk) 09:16, 14 August 2021 (UTC)
 * Is it more common though? I'm finding the opposite (and many of the results for Connaught, including the first three on Google for me, are about the hotel in Mayfair). The current title appears to be used more in media both in the UK and in English-language sources abroad, in addition to official uses.--Yaksar (let's chat) 22:22, 14 August 2021 (UTC)

 * Oppose The official name is the official name. Laurel Lodged (talk) 18:33, 15 August 2021 (UTC)
 * Wikipedia does not always use the official name. It uses the most common name and the English name. Ale3353 (talk) 08:05, 21 August 2021 (UTC)

 * Comment I'm not sure this is a binary choice between what's used in English vs. Irish. Connacht is widely used in English-language contexts in Ireland. For example in sport, the Gaelic Athletic Association names its provincial championships Connacht, Leinster etc. The Central Statistics Office similarly uses Connacht, Leinster etc. in census data. On the other hand, logainm, the Placenames Database of Ireland, uses Connaught. Declangi (talk) 23:27, 15 August 2021 (UTC)
 * Oppose. The applicable guideline here is WP:COMMONNAME (not "consistency" or WP:USEENGLISH or whatever other arguments seem to be suggested). And, while perhaps not cut-and-dried, there is plenty of evidence that "Connacht" is more common (in English and in Ireland) than "Connaught". As evidenced by everything from the provincial sports teams/competitions (Connacht Rugby, Connacht GAA, Connacht Senior League (association football)), media (Connacht Tribune, Connacht Sentinel), meteorology (Irish Meteorological Service Connacht forecast), CSO census returns (as noted above), etc. Looking at the results of a WP:GOOGLETEST, it seems that, within Ireland the common name in English is "Connacht". Whereas outside Ireland (for example in England), the more common name is "Connaught". (As evidenced in placenames like Connaught Village, Connaught Hotel, Connaught Place, Connaught Square, etc.) This use (in England) would seem to be impacting the results of a WP:GOOGLETEST. And, to my mind, is not contributory to an argument that the name of the Irish province should be changed (what someone calls a hotel in England is not indicative of the COMMONNAME of the province in Ireland). Anyway, I think the status quo is a more accurate reflection of the COMMONNAME of the subject (the province in Ireland). And "consistency" and "USEENGLISH" arguments do not (IMO) sway against that. (Separately, as has already been noted, the official name of the subject (in English and in Ireland) is "Connacht". Not "Connaught". As per the placenames act and all other legislation. Where the provinces are referred to, in English, as Connacht, Leinster, Munster and Ulster. While not contributory to a COMMONNAME argument, this to my mind, significantly undercuts any "USEENGLISH" or "be consistent" arguments. As the current title already meets both.) Guliolopez (talk) 11:17, 16 August 2021 (UTC)
 * Undecided - growing up the only spelling I ever saw was Connaught. Only here on Wikipedia did I see Connacht. In the vast amount of Irish history sources I've read since then Connacht is the phrase used. But then they'd be more likely too. I only now see Connaught in regards to older institutions such as the Connaught Rangers. It is still an English name for the province however I do not know which is truly more popular or common in English sources. Mabuska (talk) 21:43, 17 August 2021 (UTC)
 * Oppose. "Connaught" was once the common name for the province in English, but hasn't been for some time. I'm sure that if you analysed the uses of "Connaught" that don't refer to placenames in England, they would be overwhelmingly older. --Nicknack009 (talk) 22:19, 17 August 2021 (UTC)
 * An Ngram of Google Books of the two terms between 1800 and 2019 shows a trend of "Connaught" declining and "Connacht" rising, with the latter overtaking the former in recent years. --Nicknack009 (talk) 22:26, 17 August 2021 (UTC)
 * Support - as last time I checked, this is the English language Wikipedia, not the Irish language Wikipedia. Example: We have Duke of Connaught, not Duke of Connacht. GoodDay (talk) 16:44, 18 August 2021 (UTC)
 * The Dukedom of Connaught has been exinct since 1943. --Nicknack009 (talk) 17:31, 18 August 2021 (UTC)
 * So. GoodDay (talk) 18:13, 18 August 2021 (UTC)
 * Well an extinct title is not going to be amended to what may be common today. Indeed an existing old title would most likely not be amended anyways. A suitable example for you GoodDay is the Royal Inniskilling Fusiliers which was spelt like that until its end despite the fact Enniskillen became the standard spelling for the town they are named after long before their end. Mabuska (talk) 20:37, 19 August 2021 (UTC)
 * My position on this, hasn't changed. GoodDay (talk) 22:01, 19 August 2021 (UTC)
 * Didn't expect it too. Just pointing out why your argument is flawed. Mabuska (talk) 22:36, 19 August 2021 (UTC)
 * While originally a Gaelic word, it has effectively become an English word through usage. It's in vogue now, cherie. It's as English as croissant or sauerkraut. English has always evolved with loan words - c'est la guerre. Laurel Lodged (talk) 10:01, 20 August 2021 (UTC)
 * Note: WikiProject Ireland has been notified of this discussion. —  Shibboleth ink  (♔ ♕) 10:54, 20 August 2021 (UTC)

The discussion above is closed. Please do not modify it. Subsequent comments should be made on the appropriate discussion page. No further edits should be made to this discussion.
 * Oppose - the policy bases are clear, and the original argument is flawed. It is not about English and Irish but two forms in English. And for decades, the main form in English has been "Connacht". As evidenced above, by both usages in organisation and other names, and the NGRAM time-analysis. The title of a Dukedom (extinct) frozen in time over a century ago, is not relevant. We follow modern common usage, and you will only see "aught" in legacy-based sources. SeoR (talk) 11:13, 20 August 2021 (UTC)
 * Britannica disagrees with you. As an encyclopedia it has far more credibility and reliability that this site. Just saying. Mabuska (talk) 11:51, 20 August 2021 (UTC)
 * Thanks, I think that actually rather neatly proves the point - this "full article", running to a very modest number of lines, is mostly about remote history - the only items more recent than the 17th century are the population numbers. And it refers to the country we all know as Ireland, per many discussions, as "the Irish republic", which shows how current some parts of Brittanica are in understanding naming relevant to Irish matters. On the first point, I don't really need to note than multiple sources might say that Wikipedia is often as good as, or better than, Brittanica and similar resources, not least because this encyclopedia is more responsive to changing understanding, and often digs in deeper. On the substantive point, it was different some decades back, as both spellings were more in use then, but usage has solidified, as noted by other above. SeoR (talk) 21:19, 20 August 2021 (UTC)
 * Wikipedia is more responsive to changing understanding lol. In regards to certain topic areas it is a subtle or overt POV battleground used for propaganda by those that have the numbers to get their way. Not saying that this is the case here in this discussion, but Wikipedia is in no way as good or better than Britannica or similar sources in regards to contentious issues. As noted I'm not fused either way what this article is titled, both have merit. Mabuska (talk) 13:05, 22 August 2021 (UTC)
 * Oppose per Guliolopez. Spleodrach (talk) 14:31, 20 August 2021 (UTC)

a better close statement should be used, a consensus means everyone agrees. There was an undecided and two supports out of nine votes. That's 33%. Hardly a consensus. And the last oppose is foul of Wikipedia standards by simply being a "per What he said". Mixed in with lack of evidence by both sides to actually prove their points. Mabuska (talk) 09:03, 25 August 2021 (UTC)
 * Per WP:CONSENSUS Consensus on Wikipedia does not mean unanimity (which is ideal but not always achievable), nor is it the result of a vote. I did not deem an extended closing statement necessary since the proposal and supports were rather free of evidence and were overwhelmingly opposed. Giuliolopez provided compelling evidence and argumentation in opposition and Nicknack009's ngram was also convincing enough. WP:PERX is generally considered a fine argument, asserting that X has provided substantial evidence, although it does not carry much weight. No such user (talk) 09:43, 25 August 2021 (UTC)
 * That's quite a good explanation. Mabuska (talk) 13:24, 28 August 2021 (UTC)
 * Having said that one of the supporters of the move provided evidence that is quite strong . Logainm is partnered with and funded by the Irish government's Department of Culture, Heritage and the Gaeltacht and provides nomenclature for them. Such evidence can't simply be flimsily ignored. Then again what does it matter what the state the area belongs to use when it comes to nomenclature, seeing as we're stuck with Derry rather than its official name according to its state. Mabuska (talk) 13:31, 28 August 2021 (UTC)
 * As had already been pointed out, the official name was defined in 2003 by an Act of the Oireachtas, the Official Languages Act 2003 and Statuary Instrument 519/2003. According to the S.I., the name of the province in the English language is Connacht. Spleodrach (talk) 15:51, 28 August 2021 (UTC)
 * Logainm is newer than your second source. The first which is also older than Logainm needs a better link to actually provide the statement being used as evidence as it's just a load of links at the moment. And no your !vote isn't "perfectly" valid. As stated I couldn't care less what this article is named as both have valid merits, but Devil's Advocate and all. My key point in my previous post was that Logainm is evidence that should not be so easily ignored. My other point is that 'official' is commonly ignored on this site. Did you know that Logainm was accepted as a valid and recommended source for Irish place names on Wikipedia in a (quite old now) IMOS discussion (that I was a main contribuator in) and as far as I'm aware it hasn't been overwritten. So if good enough for Irish names it's good enough for English names. Don't think you were about then but the (now admin) RA with what was effectively OR messaged them directly and posted their response on their status on such matters. In what was quite a heated and lengthily discussed debate we accepted it. Must dig it up. Mabuska (talk) 03:07, 29 August 2021 (UTC)
 * On IMOS, it actually settles this issue, so any change to Connacht would need to be through discussion there. Mabuska (talk) 10:21, 29 August 2021 (UTC)
 * My !vote was and remains perfectly valid, no matter how many times you denigrate it. Yes, IMOS says use Connacht for the province, so IMOS and the official name are in agreement. Also, for someone who claims not to be bothered one way or the other about the outcome of this move discussion, you sure seem quite upset about it. Spleodrach (talk) 16:47, 29 August 2021 (UTC)
 * As stated playing Devil's Adovocate. Was quite appropriate too considering the way this discussion was done and handled with the holes in the arguments [on both sides] and casual disregarding of perfectly valid evidence out of hand as if it had no weight. Mabuska (talk) 19:47, 30 August 2021 (UTC)
 * My !vote is perfectly valid. I agreed with Guliolopez and the arguments he made. So no need for me to type the same thing again. Spleodrach (talk) 12:13, 26 August 2021 (UTC)

title: Talk:Connacht


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Neoclassicism

Neoclassicism, also spelled Neo-classicism, emerged as a Western cultural movement in the decorative and visual arts, literature, theatre, music, and architecture that drew inspiration from the art and culture of classical antiquity. Neoclassicism was born in Rome, largely due to the writings of Johann Joachim Winckelmann during the rediscovery of Pompeii and Herculaneum. Its popularity expanded throughout Europe as a generation of European art students finished their Grand Tour and returned from Italy to their home countries with newly rediscovered Greco-Roman ideals. The main Neoclassical movement coincided with the 18th-century Age of Enlightenment, and continued into the early 19th century, eventually competing with Romanticism. In architecture, the style endured throughout the 19th, 20th, and into the 21st century.

European Neoclassicism in the visual arts began c. 1760 in opposition to the then-dominant Rococo style. Rococo architecture emphasizes grace, ornamentation and asymmetry; Neoclassical architecture is based on the principles of simplicity and symmetry, which were seen as virtues of the arts of Ancient Rome and Ancient Greece, and drawn directly from 16th-century Renaissance Classicism. Each "neo"-classicism movement selects some models among the range of possible classics that are available to it, and ignores others. Between 1765 and 1830, Neoclassical proponents—writers, speakers, patrons, collectors, artists and sculptors—paid homage to an idea of the artistic generation associated with Phidias, but sculpture examples they actually embraced were more likely to be Roman copies of Hellenistic sculptures. They ignored both Archaic Greek art and the works of late antiquity. The discovery of ancient Palmyra's "Rococo" art through engravings in Robert Wood's The Ruins of Palmyra came as a revelation. With Greece largely unexplored and considered a dangerous territory of the Ottoman Empire, Neoclassicists' appreciation of Greek architecture was predominantly mediated through drawings and engravings which were subtly smoothed and regularized, "corrected" and "restored" monuments of Greece, not always consciously.

The Empire style, a second phase of Neoclassicism in architecture and the decorative arts, had its cultural centre in Paris in the Napoleonic era. Especially in architecture, but also in other fields, Neoclassicism remained a force long after the early 19th century, with periodic waves of revivalism into the 20th and even the 21st centuries, especially in the United States and Russia.

History
Neoclassicism is a revival of the many styles and spirit of classic antiquity inspired directly from the classical period, which coincided and reflected the developments in philosophy and other areas of the Age of Enlightenment, and was initially a reaction against the excesses of the preceding Rococo style. While the movement is often described as the opposed counterpart of Romanticism, this is a great over-simplification that tends not to be sustainable when specific artists or works are considered. The case of the supposed main champion of late Neoclassicism, Ingres, demonstrates this especially well. The revival can be traced to the establishment of formal archaeology.

The writings of Johann Joachim Winckelmann were important in shaping this movement in both architecture and the visual arts. His books Thoughts on the Imitation of Greek Works in Painting and Sculpture (1750) and Geschichte der Kunst des Alterthums ("History of Ancient Art", 1764) were the first to distinguish sharply between Ancient Greek and Roman art, and define periods within Greek art, tracing a trajectory from growth to maturity and then imitation or decadence that continues to have influence to the present day. Winckelmann believed that art should aim at "noble simplicity and calm grandeur", and praised the idealism of Greek art, in which he said we find "not only nature at its most beautiful but also something beyond nature, namely certain ideal forms of its beauty, which, as an ancient interpreter of Plato teaches us, come from images created by the mind alone". The theory was very far from new in Western art, but his emphasis on close copying of Greek models was: "The only way for us to become great or if this be possible, inimitable, is to imitate the ancients".

The Industrial Revolution saw global transition of human economy towards more efficient and stable manufacturing processes. There was tremendous material advancement and increased prosperity. With the advent of the Grand Tour, a fad of collecting antiquities began that laid the foundations of many great collections spreading a Neoclassical revival throughout Europe. "Neoclassicism" in each art implies a particular canon of a "classical" model.

In English, the term "Neoclassicism" is used primarily of the visual arts; the similar movement in English literature, which began considerably earlier, is called Augustan literature. This, which had been dominant for several decades, was beginning to decline by the time Neoclassicism in the visual arts became fashionable. Though terms differ, the situation in French literature was similar. In music, the period saw the rise of classical music, and "Neoclassicism" is used of 20th-century developments. However, the operas of Christoph Willibald Gluck represented a specifically Neoclassical approach, spelt out in his preface to the published score of Alceste (1769), which aimed to reform opera by removing ornamentation, increasing the role of the chorus in line with Greek tragedy, and using simpler unadorned melodic lines.

The term "Neoclassical" was not invented until the mid-19th century, and at the time the style was described by such terms as "the true style", "reformed" and "revival"; what was regarded as being revived varying considerably. Ancient models were certainly very much involved, but the style could also be regarded as a revival of the Renaissance, and especially in France as a return to the more austere and noble Baroque of the age of Louis XIV, for which a considerable nostalgia had developed as France's dominant military and political position started a serious decline. Ingres's coronation portrait of Napoleon even borrowed from Late Antique consular diptychs and their Carolingian revival, to the disapproval of critics.

Neoclassicism was strongest in architecture, sculpture and the decorative arts, where classical models in the same medium were relatively numerous and accessible; examples from ancient painting that demonstrated the qualities that Winckelmann's writing found in sculpture were and are lacking. Winckelmann was involved in the dissemination of knowledge of the first large Roman paintings to be discovered, at Pompeii and Herculaneum and, like most contemporaries except for Gavin Hamilton, was unimpressed by them, citing Pliny the Younger's comments on the decline of painting in his period.

As for painting, Greek painting was utterly lost: Neoclassicist painters imaginatively revived it, partly through bas-relief friezes, mosaics and pottery painting, and partly through the examples of painting and decoration of the High Renaissance of Raphael's generation, frescos in Nero's Domus Aurea, Pompeii and Herculaneum, and through renewed admiration of Nicolas Poussin. Much "Neoclassical" painting is more classicizing in subject matter than in anything else. A fierce, but often very badly informed, dispute raged for decades over the relative merits of Greek and Roman art, with Winckelmann and his fellow Hellenists generally being on the winning side.

Painting, drawing and printmaking
It is hard to recapture the radical and exciting nature of early Neoclassical painting for contemporary audiences; it now strikes even those writers favourably inclined to it as "insipid" and "almost entirely uninteresting to us"—some of Kenneth Clark's comments on Anton Raphael Mengs' ambitious Parnassus at the Villa Albani, by the artist whom his friend Winckelmann described as "the greatest artist of his own, and perhaps of later times". The drawings, subsequently turned into prints, of John Flaxman used very simple line drawing (thought to be the purest classical medium ) and figures mostly in profile to depict The Odyssey and other subjects, and once "fired the artistic youth of Europe" but are now "neglected", while the history paintings of Angelica Kauffman, mainly a portraitist, are described as having "an unctuous softness and tediousness" by Fritz Novotny. Rococo frivolity and Baroque movement had been stripped away but many artists struggled to put anything in their place, and in the absence of ancient examples for history painting, other than the Greek vases used by Flaxman, Raphael tended to be used as a substitute model, as Winckelmann recommended.

The work of other artists, who could not easily be described as insipid, combined aspects of Romanticism with a generally Neoclassical style, and form part of the history of both movements. The German-Danish painter Asmus Jacob Carstens finished very few of the large mythological works that he planned, leaving mostly drawings and colour studies which often succeed in approaching Winckelmann's prescription of "noble simplicity and calm grandeur". Unlike Carstens' unrealized schemes, the etchings of Giovanni Battista Piranesi were numerous and profitable, and taken back by those making the Grand Tour to all parts of Europe. His main subject matter was the buildings and ruins of Rome, and he was more stimulated by the ancient than the modern. The somewhat disquieting atmosphere of many of his Vedute (views) becomes dominant in his series of 16 prints of Carceri d'invenzione ("Imaginary Prisons") whose "oppressive cyclopean architecture" conveys "dreams of fear and frustration". The Swiss-born Henry Fuseli spent most of his career in England, and while his fundamental style was based on Neoclassical principles, his subjects and treatment more often reflected the "Gothic" strain of Romanticism, and sought to evoke drama and excitement.

Neoclassicism in painting gained a new sense of direction with the sensational success of Jacques-Louis David's Oath of the Horatii at the Paris Salon of 1785. Despite its evocation of republican virtues, this was a commission by the royal government, which David insisted on painting in Rome. David managed to combine an idealist style with drama and forcefulness. The central perspective is perpendicular to the picture plane, made more emphatic by the dim arcade behind, against which the heroic figures are disposed as in a frieze, with a hint of the artificial lighting and staging of opera, and the classical colouring of Nicolas Poussin. David rapidly became the leader of French art, and after the French Revolution became a politician with control of much government patronage in art. He managed to retain his influence in the Napoleonic period, turning to frankly propagandistic works, but had to leave France for exile in Brussels at the Bourbon Restoration.

David's many students included Jean-Auguste-Dominique Ingres, who saw himself as a classicist throughout his long career, despite a mature style that has an equivocal relationship with the main current of Neoclassicism, and many later diversions into Orientalism and the Troubadour style that are hard to distinguish from those of his unabashedly Romantic contemporaries, except by the primacy his works always give to drawing. He exhibited at the Salon for over 60 years, from 1802 into the beginnings of Impressionism, but his style, once formed, changed little.

Sculpture
If Neoclassical painting suffered from a lack of ancient models, Neoclassical sculpture tended to suffer from an excess of them. Although examples of actual Greek sculpture of the "Classical Period" beginning in about 500 BC were then very few; the most highly regarded works were mostly Roman copies. The leading Neoclassical sculptors enjoyed huge reputations in their own day, but are now less regarded, with the exception of Jean-Antoine Houdon, whose work was mainly portraits, very often as busts, which do not sacrifice a strong impression of the sitter's personality to idealism. His style became more classical as his long career continued, and represents a rather smooth progression from Rococo charm to classical dignity. Unlike some Neoclassical sculptors he did not insist on his sitters wearing Roman dress, or being unclothed. He portrayed most of the notable figures of the Enlightenment, and travelled to America to produce a statue of George Washington, as well as busts of Thomas Jefferson, Benjamin Franklin and other founders of the new republic.

Antonio Canova and the Dane Bertel Thorvaldsen were both based in Rome, and as well as portraits produced many ambitious life-size figures and groups; both represented the strongly idealizing tendency in Neoclassical sculpture. Canova has a lightness and grace, where Thorvaldsen is more severe; the difference is exemplified in their respective groups of the Three Graces. All these, and Flaxman, were still active in the 1820s, and Romanticism was slow to impact sculpture, where versions of Neoclassicism remained the dominant style for most of the 19th century.

An early Neoclassicist in sculpture was the Swede Johan Tobias Sergel. John Flaxman was also, or mainly, a sculptor, mostly producing severely classical reliefs that are comparable in style to his prints; he also designed and modelled Neoclassical ceramics for Josiah Wedgwood for several years. Johann Gottfried Schadow and his son Rudolph, one of the few Neoclassical sculptors to die young, were the leading German artists, with Franz Anton von Zauner in Austria. The late Baroque Austrian sculptor Franz Xaver Messerschmidt turned to Neoclassicism in mid-career, shortly before he appears to have suffered some kind of mental crisis, after which he retired to the country and devoted himself to the highly distinctive "character heads" of bald figures pulling extreme facial expressions. Like Piranesi's Carceri, these enjoyed a great revival of interest during the age of psychoanalysis in the early 20th century. The Dutch Neoclassical sculptor Mathieu Kessels studied with Thorvaldsen and worked almost exclusively in Rome.

Since prior to the 1830s the United States did not have a sculpture tradition of its own, save in the areas of tombstones, weathervanes and ship figureheads, the European Neoclassical manner was adopted there, and it was to hold sway for decades and is exemplified in the sculptures of Horatio Greenough, Harriet Hosmer, Hiram Powers, Randolph Rogers and William Henry Rinehart.

Architecture and the decorative arts

Neoclassical art was traditional and new, historical and modern, conservative and progressive all at the same time.

Neoclassicism first gained influence in Britain and France, through a generation of French art students trained in Rome and influenced by the writings of Winckelmann, and it was quickly adopted by progressive circles in other countries such as Sweden, Poland and Russia. At first, classicizing decor was grafted onto familiar European forms, as in the interiors for Catherine the Great's lover, Count Grigory Orlov, designed by an Italian architect with a team of Italian stuccadori: only the isolated oval medallions like cameos and the bas-relief overdoors hint of Neoclassicism; the furnishings are fully Italian Rococo.

A second Neoclassic wave, more severe, more studied (through the medium of engravings) and more consciously archaeological, is associated with the height of the Napoleonic Empire. In France, the first phase of Neoclassicism was expressed in the "Louis XVI style", and the second in the styles called "Directoire" and Empire. The Rococo style remained popular in Italy until the Napoleonic regimes brought the new archaeological classicism, which was embraced as a political statement by young, progressive, urban Italians with republican leanings.

In the decorative arts, Neoclassicism is exemplified in Empire furniture made in Paris, London, New York, Berlin; in Biedermeier furniture made in Austria; in Karl Friedrich Schinkel's museums in Berlin, Sir John Soane's Bank of England in London and the newly built "United States Capitol" in Washington, D.C.; and in Josiah Wedgwood's bas reliefs and "black basaltes" vases. The style was international; Scots architect Charles Cameron created palatial Italianate interiors for the German-born Catherine the Great, in St. Petersburg, Russia.

Indoors, Neoclassicism made a discovery of the genuine classic interior, inspired by the rediscoveries at Pompeii and Herculaneum. These had begun in the late 1740s, but only achieved a wide audience in the 1760s, with the first luxurious volumes of tightly controlled distribution of Le Antichità di Ercolano (The Antiquities of Herculaneum). The antiquities of Herculaneum showed that even the most classicizing interiors of the Baroque, or the most "Roman" rooms of William Kent were based on basilica and temple exterior architecture turned outside in, hence their often bombastic appearance to modern eyes: pedimented window frames turned into gilded mirrors, fireplaces topped with temple fronts. The new interiors sought to recreate an authentically Roman and genuinely interior vocabulary.

Techniques employed in the style included flatter, lighter motifs, sculpted in low frieze-like relief or painted in monotones en camaïeu ("like cameos"), isolated medallions or vases or busts or bucrania or other motifs, suspended on swags of laurel or ribbon, with slender arabesques against backgrounds, perhaps, of "Pompeiian red" or pale tints, or stone colors. The style in France was initially a Parisian style, the Goût grec ("Greek style"), not a court style; when Louis XVI acceded to the throne in 1774, Marie Antoinette, his fashion-loving Queen, brought the Louis XVI style to court. However, there was no real attempt to employ the basic forms of Roman furniture until around the turn of the century, and furniture-makers were more likely to borrow from ancient architecture, just as silversmiths were more likely to take from ancient pottery and stone-carving than metalwork: "Designers and craftsmen ... seem to have taken an almost perverse pleasure in transferring motifs from one medium to another".

From about 1800 a fresh influx of Greek architectural examples, seen through the medium of etchings and engravings, gave a new impetus to Neoclassicism, the Greek Revival. At the same time the Empire style was a more grandiose wave of Neoclassicism in architecture and the decorative arts. Mainly based on Imperial Roman styles, it originated in, and took its name from, the rule of Napoleon in the First French Empire, where it was intended to idealize Napoleon's leadership and the French state. The style corresponds to the more bourgeois Biedermeier style in the German-speaking lands, Federal style in the United States, the Regency style in Britain, and the Napoleon style in Sweden. According to the art historian Hugh Honour "so far from being, as is sometimes supposed, the culmination of the Neoclassical movement, the Empire marks its rapid decline and transformation back once more into a mere antique revival, drained of all the high-minded ideas and force of conviction that had inspired its masterpieces". An earlier phase of the style was called the Adam style in Great Britain.

Neoclassicism continued to be a major force in academic art through the 19th century and beyond—a constant antithesis to Romanticism or Gothic revivals —, although from the late 19th century on it had often been considered anti-modern, or even reactionary, in influential critical circles. The centres of several European cities, notably Saint Petersburg and Munich, came to look much like museums of Neoclassical architecture.

Gothic revival architecture (often linked with the Romantic cultural movement), a style originating in the 18th century which grew in popularity throughout the 19th century, contrasted Neoclassicism. Whilst Neoclassicism was characterized by Greek and Roman-influenced styles, geometric lines and order, Gothic revival architecture placed an emphasis on medieval-looking buildings, often made to have a rustic, "romantic" appearance.

Louis XVI style (1760–1789)
It marks the transition from Rococo to Classicism. Unlike the Classicism of Louis XIV, which transformed ornaments into symbols, Louis XVI style represents them as realistic and natural as possible, i.e. laurel branches really are laurel branches, roses the same, and so on. One of the main decorative principles is symmetry. In interiors, the colours used are very bright, including white, light grey, bright blue, pink, yellow, very light lilac, and gold. Excesses of ornamentation are avoided. The return to antiquity is synonymous with above all with a return to the straight lines: strict verticals and horizontals were the order of the day. Serpentine ones were no longer tolerated, save for the occasional half circle or oval. Interior decor also honored this taste for rigor, with the result that flat surfaces and right angles returned to fashion. Ornament was used to mediate this severity, but it never interfered with basic lines and always was disposed symmetrically around a central axis. Even so, ébénistes often canted fore-angles to avoid excessive rigidity.

The decorative motifs of Louis XVI style were inspired by antiquity, the Louis XIV style, and nature. Characteristic elements of the style: a torch crossed with a sheath with arrows, imbricated disks, guilloché, double bow-knots, smoking braziers, linear repetitions of small motifs (rosettes, beads, oves), trophy or floral medallions hanging from a knotted ribbon, acanthus leaves, gadrooning, interlace, meanders, cornucopias, mascarons, Ancient urns, tripods, perfume burners, dolphins, ram and lion heads, chimeras, and gryphons. Greco-Roman architectural motifs are also heavily used: flutings, pilasters (fluted and unfluted), fluted balusters (twisted and straight), columns (engaged and unengaged, sometimes replaced by caryathids), volute corbels, triglyphs with guttae (in relief and trompe-l'œil).

Empire style (1804–1815)
Neoclassicism was representative for the new French society that exited the revolution, setting the tone in all life fields, including art. The Jacquard machine was invented during this period (which revolutionised the entire sewing system, manual until then). One of the dominant colours was red, decorated with gilt bronze. Bright colours were also used, including white, cream, violet, brown, blue, dark red, with little ornaments of gilt bronze. Interior architecture included wood panels decorated with gilt reliefs (on a white background or a coloured one). Motifs were placed geometrically. The walls were covered in stuccos, wallpaper fabrics. Fireplace mantels were made of white marble, having caryatids at their corners, or other elements: obelisks, sphinxes, winged lions, and so on. Bronze objects were placed on their tops, including mantel clocks. The doors consisted of simple rectangular panels, decorated with a Pompeian-inspired central figure. Empire fabrics are damasks with a blue or brown background, satins with a green, pink or purple background, velvets of the same colors, brooches broached with gold or silver, and cotton fabrics. All of these were used in interiors for curtains, for covering certain furniture, for cushions or upholstery (leather was also used for upholstery).

All Empire ornament is governed by a rigorous spirit of symmetry reminiscent of the Louis XIV style. Generally, the motifs on a piece's right and left sides correspond to one another in every detail; when they do not, the individual motifs themselves are entirely symmetrical in composition: antique heads with identical tresses falling onto each shoulder, frontal figures of Victory with symmetrically arrayed tunics, identical rosettes or swans flanking a lock plate, etc. Like Louis XIV, Napoleon had a set of emblems unmistakably associated with his rule, most notably the eagle, the bee, stars, and the initials I (for Imperator) and N (for Napoleon), which were usually inscribed within an imperial laurel crown. Motifs used include: figures of Victory bearing palm branches, Greek dancers, nude and draped women, figures of antique chariots, winged putti, mascarons of Apollo, Hermes and the Gorgon, swans, lions, the heads of oxen, horses and wild beasts, butterflies, claws, winged chimeras, sphinxes, bucrania, sea horses, oak wreaths knotted by thin trailing ribbons, climbing grape vines, poppy rinceaux, rosettes, palm branches, and laurel. There's a lot of Greco-Roman ones: stiff and flat acanthus leaves, palmettes, cornucopias, beads, amphoras, tripods, imbricated disks, caduceuses of Mercury, vases, helmets, burning torches, winged trumpet players, and ancient musical instruments (tubas, rattles and especially lyres). Despite their antique derivation, the fluting and triglyphs so prevalent under Louis XVI are abandoned. Egyptian Revival motifs are especially common at the beginning of the period: scarabs, lotus capitals, winged disks, obelisks, pyramids, figures wearing nemeses, caryatids en gaine supported by bare feet and with women Egyptian headdresses.

Germany
Neoclassical architecture became widespread as a symbol of wealth and power in Germany, mostly in what was then Prussia. Karl Friedrich Schinkel built many prominent buildings in this style, including the Altes Museum in Berlin. While the city remained dominated by Baroque city planning, his architecture and functional style provided the city with a distinctly neoclassical center.

His Bauakademie is considered one of the forerunners of modern architecture due to its hithertofore relatively streamlined façade of the building

Italy
From the second half of the 18th century through the 19th century, Italy went through a great deal of socio-economic changes, several foreign invasions and the turbulent Risorgimento, which resulted in Italian unification in 1861. Thus, Italian art went through a series of minor and major changes in style.

Italian Neoclassicism was the earliest manifestation of the general period known as Neoclassicism and lasted more than the other national variants of neoclassicism. It developed in opposition to the Baroque style around c. 1750 and lasted until c. 1850. Neoclassicism began around the period of the rediscovery of Pompeii and spread all over Europe as a generation of art students returned to their countries from the Grand Tour in Italy with rediscovered Greco-Roman ideals. It first centred in Rome where artists such as Antonio Canova and Jacques-Louis David were active in the second half of the 18th century, before moving to Paris. Painters of Vedute, like Canaletto and Giovanni Paolo Panini, also enjoyed a huge success during the Grand Tour. Neoclassical architecture was inspired by the Renaissance works of Andrea Palladio and saw in Luigi Vanvitelli the main interpreters of the style.

Classicist literature had a great impact on the Risorgimento movement: the main figures of the period include Vittorio Alfieri, Giuseppe Parini, Vincenzo Monti and Ugo Foscolo, Giacomo Leopardi and Alessandro Manzoni (nephew of Cesare Beccaria), who were also influenced by the French Enlightenment and German Romanticism. The virtuoso violinist Paganini and the operas of Rossini, Donnizetti, Bellini and, later, Verdi dominated the scene in Italian classical and romantic music.

The art of Francesco Hayez and especially that of the Macchiaioli represented a break with the classical school, which came to an end as Italy unified (see Italian modern and contemporary art). Neoclassicism was the last Italian-born style, after the Renaissance and Baroque, to spread to all Western Art.

Romania
During the 19th century, the predominant style in Wallachia and Moldavia, later the Kingdom of Romania, was Classicism which lasted for a long time, until the 20th century, although it coexisted in some short periods with other styles. Foreign architects and engineers were invited here since the first decade of the 19th century. Most of the architects that built during the beginning of the century were foreigners because Romanians did not have yet the instruction needed for designing buildings that were very different compared to the Romanian tradition. Usually using Classicism, they started building together with Romanian artisans, usually prepared in foreign schools or academies. Romanian architects studied in Western European schools as well. One example is Alexandru Orăscu, one of the representatives of Neoclassicism in Romania.

Classicism manifested both in religious and secular architecture. A good example of secular architecture is the Știrbei Palace on Calea Victoriei (Bucharest), built around the year 1835, after the plans of French architect Michel Sanjouand. It received a new level in 1882, designed by Austrian architect Joseph Hartmann

Russia and the Soviet Union
In 1905–1914 Russian architecture passed through a brief but influential period of Neoclassical revival; the trend began with recreation of Empire style of Alexandrine period and quickly expanded into a variety of neo-Renaissance, Palladian and modernized, yet recognizably classical schools. They were led by architects born in the 1870s, who reached creative peak before World War I, like Ivan Fomin, Vladimir Shchuko and Ivan Zholtovsky. When the economy recovered in the 1920s, these architects and their followers continued working in primarily modernist environment; some (Zholtovsky) strictly followed the classical canon, others (Fomin, Schuko, Ilya Golosov) developed their own modernized styles.

With the crackdown on architect's independence and official denial of modernism (1932), demonstrated by the international contest for the Palace of Soviets, Neoclassicism was instantly promoted as one of the choices in Stalinist architecture, although not the only choice. It coexisted with moderately modernist architecture of Boris Iofan, bordering with contemporary Art Deco (Schuko); again, the purest examples of the style were produced by Zholtovsky school that remained an isolated phenomena. The political intervention was a disaster for constructivist leaders yet was sincerely welcomed by architects of the classical schools.

Neoclassicism was an easy choice for the Soviet Union since it did not rely on modern construction technologies (steel frame or reinforced concrete) and could be reproduced in traditional masonry. Thus the designs of Zholtovsky, Fomin and other old masters were easily replicated in remote towns under strict material rationing. Improvement of construction technology after World War II permitted Stalinist architects to venture into skyscraper construction, although stylistically these skyscrapers (including "exported" architecture of Palace of Culture and Science, Warsaw and the Shanghai International Convention Centre) share little with the classical models. Neoclassicism and neo-Renaissance persisted in less demanding residential and office projects until 1955, when Nikita Khrushchev put an end to expensive Stalinist architecture.

The United Kingdom
The Adam style was created by two brothers, Adam and James, who published in 1777 a volume of etchings with interior ornamentation. In the interior decoration made after Robert Adam's drawings, the walls, ceilings, doors, and any other surface, are divided into big panels: rectangular, round, square, with stuccos and Greco-Roman motifs at the edges. Ornaments used include festoons, pearls, egg-and-dart bands, medallions, and any other motifs used during the Classical antiquity (especially the Etruscan ones). Decorative fittings such as urn-shaped stone vases, gilded silverware, lamps, and stauettes all have the same source of inspiration, classical antiquity. The Adam style emphasizes refined rectangular mirrors, framed like paintings (in frames with stylised leafs), or with a pediment above them, supporting an urn or a medallion. Another design of Adam mirrors is shaped like a Venetian window, with a big central mirror between two other thinner and longer ones. Another type of mirrors are the oval ones, usually decorated with festoons. The furniture in this style has a similar structure to Louis XVI furniture.

Besides the Adam style, when it comes to decorative arts, England is also known for the ceramic manufacturer Josiah Wedgwood (1730–1795), who established a pottery called Etruria. Wedgwood ware is made of a material called jasperware, a hard and fine-grained type of stoneware. Wedgwood vases are usually decorated with reliefs in two colours, in most cases the figures being white and the background blue.

The United States
On the American continent, architecture and interior decoration have been highly influenced by the styles developed in Europe. The French taste has highly marked its presence in the southern states (after the French Revolution some emigrants have moved here, and in Canada a big part of the population has French origins). The practical spirit and the material situation of the Americans at that time gave the interiors a typic atmosphere. All the American furniture, carpets, tableware, ceramic, and silverware, with all the European influences, and sometimes Islamic, Turkish or Asian, were made in conformity with the American norms, taste, and functional requirements. There have existed in the US a period of the Queen Anne style, and an Chippendale one. A style of its own, the Federal style, has developed completely in the 18th and early 19th centuries, which has flourished being influenced by Britannic taste. Under the impulse of Neoclassicism, architecture, interiors, and furniture have been created. The style, although it has numerous characteristics which differ from state to state, is unitary. The structures of architecture, interiors, and furniture are Classicist, and incorporate Baroque and Rococo influences. The shapes used include rectangles, ovals, and crescents. Stucco or wooden panels on walls and ceilings reproduce Classicist motifs. Furniture tend to be decorated with floral marquetry and bronze or brass inlays (sometimes gilded).

Gardens
In England, Augustan literature had a direct parallel with the Augustan style of landscape design. The links are clearly seen in the work of Alexander Pope. The best surviving examples of Neoclassical English gardens are Chiswick House, Stowe House and Stourhead.

Fashion
In fashion, Neoclassicism influenced the much greater simplicity of women's dresses, and the long-lasting fashion for white, from well before the French Revolution, but it was not until after it that thorough-going attempts to imitate ancient styles became fashionable in France, at least for women. Classical costumes had long been worn by fashionable ladies posing as some figure from Greek or Roman myth in a portrait (in particular there was a rash of such portraits of the young model Emma, Lady Hamilton from the 1780s), but such costumes were only worn for the portrait sitting and masquerade balls until the Revolutionary period, and perhaps, like other exotic styles, as undress at home. But the styles worn in portraits by Juliette Récamier, Joséphine de Beauharnais, Thérésa Tallien and other Parisian trend-setters were for going-out in public as well. Seeing Mme Tallien at the opera, Talleyrand quipped that: "Il n'est pas possible de s'exposer plus somptueusement!" ("One could not be more sumptuously undressed"). In 1788, just before the Revolution, the court portraitist Louise Élisabeth Vigée Le Brun had held a Greek supper where the ladies wore plain white Grecian tunics. Shorter classical hairstyles, where possible with curls, were less controversial and very widely adopted, and hair was now uncovered even outdoors; except for evening dress, bonnets or other coverings had typically been worn even indoors before. Thin Greek-style ribbons or fillets were used to tie or decorate the hair instead.

Very light and loose dresses, usually white and often with shockingly bare arms, rose sheer from the ankle to just below the bodice, where there was a strongly emphasized thin hem or tie round the body, often in a different colour. The shape is now often known as the Empire silhouette although it predates the First French Empire of Napoleon, but his first Empress Joséphine de Beauharnais was influential in spreading it around Europe. A long rectangular shawl or wrap, very often plain red but with a decorated border in portraits, helped in colder weather, and was apparently laid around the midriff when seated—for which sprawling semi-recumbent postures were favoured. By the start of the 19th century, such styles had spread widely across Europe.

Neoclassical fashion for men was far more problematic, and never really took off other than for hair, where it played an important role in the shorter styles that finally despatched the use of wigs, and then white hair-powder, for younger men. The trouser had been the symbol of the barbarian to the Greeks and Romans, but outside the painter's or, especially, the sculptor's studio, few men were prepared to abandon it. Indeed, the period saw the triumph of the pure trouser, or pantaloon, over the culotte or knee-breeches of the Ancien Régime. Even when David designed a new French "national costume" at the request of the government during the height of the Revolutionary enthusiasm for changing everything in 1792, it included fairly tight leggings under a coat that stopped above the knee. A high proportion of well-to-do young men spent much of the key period in military service because of the French Revolutionary Wars, and military uniform, which began to emphasize jackets that were short at the front, giving a full view of tight-fitting trousers, was often worn when not on duty, and influenced civilian male styles.

The trouser-problem had been recognised by artists as a barrier to creating contemporary history paintings; like other elements of contemporary dress they were seen as irredeemably ugly and unheroic by many artists and critics. Various stratagems were used to avoid depicting them in modern scenes. In James Dawkins and Robert Wood Discovering the Ruins of Palmyra (1758) by Gavin Hamilton, the two gentleman antiquaries are shown in toga-like Arab robes. In Watson and the Shark (1778) by John Singleton Copley, the main figure could plausibly be shown nude, and the composition is such that of the eight other men shown, only one shows a single breeched leg prominently. However the Americans Copley and Benjamin West led the artists who successfully showed that trousers could be used in heroic scenes, with works like West's The Death of General Wolfe (1770) and Copley's The Death of Major Peirson, 6 January 1781 (1783), although the trouser was still being carefully avoided in The Raft of the Medusa, completed in 1819.

Classically inspired male hairstyles included the Bedford Crop, arguably the precursor of most plain modern male styles, which was invented by the radical politician Francis Russell, 5th Duke of Bedford as a protest against a tax on hair powder; he encouraged his friends to adopt it by betting them they would not. Another influential style (or group of styles) was named by the French "coiffure à la Titus" after Titus Junius Brutus (not in fact the Roman Emperor Titus as often assumed), with hair short and layered but somewhat piled up on the crown, often with restrained quiffs or locks hanging down; variants are familiar from the hair of both Napoleon and George IV of the United Kingdom. The style was supposed to have been introduced by the actor François-Joseph Talma, who upstaged his wigged co-actors when appearing in productions of works such as Voltaire's Brutus (about Lucius Junius Brutus, who orders the execution of his son Titus). In 1799 a Parisian fashion magazine reported that even bald men were adopting Titus wigs, and the style was also worn by women, the Journal de Paris reporting in 1802 that "more than half of elegant women were wearing their hair or wig à la Titus.

Music
Neoclassicism in music is a 20th-century movement; in this case it is the Classical and Baroque musical styles of the 17th and 18th centuries, with their fondness for Greek and Roman themes, that were being revived, not the music of the ancient world itself. (The early 20th century had not yet distinguished the Baroque period in music, on which Neoclassical composers mainly drew, from what we now call the Classical period.) The movement was a reaction in the first part of the 20th century to the disintegrating chromaticism of late-Romanticism and Impressionism, emerging in parallel with musical Modernism, which sought to abandon key tonality altogether. It manifested a desire for cleanness and simplicity of style, which allowed for quite dissonant paraphrasing of classical procedures, but sought to blow away the cobwebs of Romanticism and the twilit glimmerings of Impressionism in favour of bold rhythms, assertive harmony and clean-cut sectional forms, coinciding with the vogue for reconstructed "classical" dancing and costume in ballet and physical education.

The 17th–18th century dance suite had had a minor revival before World War I but the Neoclassicists were not altogether happy with unmodified diatonicism, and tended to emphasise the bright dissonance of suspensions and ornaments, the angular qualities of 17th-century modal harmony and the energetic lines of countrapuntal part-writing. Ottorino Respighi's Ancient Airs and Dances (1917) led the way for the sort of sound to which the Neoclassicists aspired. Although the practice of borrowing musical styles from the past has not been uncommon throughout musical history, art musics have gone through periods where musicians used modern techniques coupled with older forms or harmonies to create new kinds of works. Notable compositional characteristics are: referencing diatonic tonality, conventional forms (dance suites, concerti grossi, sonata forms, etc.), the idea of absolute music untramelled by descriptive or emotive associations, the use of light musical textures, and a conciseness of musical expression. In classical music, this was most notably perceived between the 1920s and the 1950s. Igor Stravinsky is the best-known composer using this style; he effectively began the musical revolution with his Bach-like Octet for Wind Instruments (1923). A particular individual work that represents this style well is Prokofiev's Classical Symphony No. 1 in D, which is reminiscent of the symphonic style of Haydn or Mozart. Neoclassical ballet as innovated by George Balanchine de-cluttered the Russian Imperial style in terms of costume, steps and narrative, while also introducing technical innovations.

Later Neoclassicism and continuations
After the middle of the 19th century, Neoclassicism starts to no longer be the main style, being replaced by Eclecticism of Classical styles. The Palais Garnier in Paris is a good example of this, since despite being predominantly Neoclassical, it features elements and ornaments taken from Baroque and Renaissance architecture. This practice was frequent in late 19th and early 20th century architecture, before World War I. Besides Neoclassicism, the Beaux-Arts de Paris well known for this eclecticism of Classical styles.

Pablo Picasso experimented with classicizing motifs in the years immediately following World War I.

In American architecture, Neoclassicism was one expression of the American Renaissance movement, ca. 1890–1917; its last manifestation was in Beaux-Arts architecture, and its final large public projects were the Lincoln Memorial (highly criticized at the time), the National Gallery of Art in Washington, D.C. (also heavily criticized by the architectural community as being backward thinking and old fashioned in its design), and the American Museum of Natural History's Roosevelt Memorial. These were considered stylistic anachronisms when they were finished. In the British Raj, Sir Edwin Lutyens' monumental city planning for New Delhi marks the sunset of Neoclassicism. World War II was to shatter most longing for (and imitation of) a mythical time.

There was an entire 20th-century movement in the non-visual arts which was also called Neoclassicism. It encompassed at least music, philosophy and literature. It was between the end of World War I and the end of World War II. (For information on the musical aspects, see 20th-century classical music and Neoclassicism in music. For information on the philosophical aspects, see Great Books.)

This literary Neoclassical movement rejected the extreme romanticism of (for example) Dada, in favour of restraint, religion (specifically Christianity) and a reactionary political program. Although the foundations for this movement in English literature were laid by T. E. Hulme, the most famous Neoclassicists were T. S. Eliot and Wyndham Lewis. In Russia, the movement crystallized as early as 1910 under the name of Acmeism, with Anna Akhmatova and Osip Mandelshtam as the leading representatives.

Art Deco
Although it started to be seen as 'dated' after WW1, principles, proportions and other Neoclassical elements were not abandoned yet. Art Deco was the dominant style during the interwar period, and it corresponds with the taste of a bourgeois elite for high class French styles of the past, including the Louis XVI, Directoire and Empire (the period styles of French Neoclassicism). At the same time, the French elite was equally capable of appreciating Modern art, like the works of Pablo Picasso or Amedeo Modigliani. The result of this situation is the early Art Deco style, which uses both new and old elements. The Palais de Tokyo from 1937 in Paris, by André Aubert and Marcel Dastugue, is a good example of this. Although ornaments are not used here, the facade being decorated only with reliefs, the way columns are present here is a strong reminiscence of Neoclassicism. Art Deco design often drew on Neoclassical motifs without expressing them overtly: severe, blocky commodes by Émile-Jacques Ruhlmann or Louis Süe & André Mare; crisp, extremely low-relief friezes of damsels and gazelles in every medium; fashionable dresses that were draped or cut on the bias to recreate Grecian lines; the art dance of Isadora Duncan. Conservative modernist architects such as Auguste Perret in France kept the rhythms and spacing of columnar architecture even in factory buildings.

The oscillation of Art Deco between the use of historic elements, shapes and proportions, and the appetite for 'new', for Modernism, is the result of multiple factors. One of them is eclecticism. The complexity and heterogeneity of Art Deco is largely due to the eclectic spirit. Stylized elements from repertoire of Beaux-Arts, Neoclassicism, or of cultures distant in time and space (Ancient Egypt, Pre-Columbian Americas, or Sub-Saharian African art) are put together with references to Modernist avant-guard artists of the early 20th century (Henri Matisse, Amedeo Modigliani or Constantin Brâncuși). The Art Deco phenomenon owes to academic eclecticism and Neoclassicism mainly the existence of a specific architecture. Without the contribution of the Beaux-Arts trained architects, Art Deco architecture would have remained, with the exception of residential buildings, a collection of decorative objects magnified to an urban scale, like the pavilions of the International Exhibition of Modern Decorative and Industrial Arts from 1925, controversial at their time. Another reason for the swinging between historical elements and modernism was consumer culture. Objects and buildings in the puritan International style, devoid of any ornamentation or citation of the past, were too radical for the general public. In interwar France and England, the spirit of the public and much architectural criticism could not conceive a style totally deprived of ornament, like the International style.

The use of historic styles as sources of inspiration for Art Deco starts as far back as the years before WW1, through the efforts of decorators like Maurice Dufrêne, Paul Follot, Paul Iribe, André Groult, Léon Jallot or Émile-Jacques Ruhlmann, who relate to the prestigious French artistic and handicraft tradition of the late 18th and early 19th centuries (the Louis XVI, Directoire and Louis Philippe), and who want to bring a new approach to these styles. The neo-Louis XVI style was really popular in France and Romania in the years before WW1, around 1910, and it heavily influenced multiple early Art Deco designs and buildings. A good example of this is the Château de Sept-Saulx in Grand Est, France, by Louis Süe, 1928–1929.

Neoclassicism and Totalitarian regimes
In Fascist Italy, Nazi Germany, Romania under the rule of Carol II and the Soviet Union, during the 1920s and 1930s, totalitarian regimes chose Neoclassicism for state buildings and art. Architecture was central to totalitarian regimes' expression of their permanence (despite their obvious novelty). The way totalitarian regimes drew from Classicism took many forms. When it comes to state buildings in Italy and Romania, architects attempted to fuse a modern sensibility with abstract classical forms. Two good examples of this are the Palazzo della Civiltà Italiana in Rome, and the University Rectorate and Law Faculty Building in Bucharest (Bulevardul Mihail Kogălniceanu no. 36–46). In contrast, the Classicism of the Soviet Union, known as Socialist Realism, was bombastic, overloaded with ornaments and architectural sculptures, as an attempt to be in contrast with the simplicity of 'Capitalist' or 'bourgeois' styles like Art Deco or Modernism. The Lomonosov University in Moscow is a good example of this. Nikita Khrushchev, the Soviet leader that succeeded Stalin, did not like this pompous Socialist Realist architecture from the reign of his predecessor. Because of the low speed and cost of these Neoclassical buildings, he stated that 'they spent people's money on beauty that no one needs, instead of building simpler, but more'.

In the Soviet Union, Neoclassicism was embraced as a rejection of Art Deco and Modernism, which the Communists saw as being too 'bourgeois' and 'capitalist'. This Communist Neoclassical style is known as Socialist Realism, and it was popular during the reign of Joseph Stalin (1924–1953). In fine art. Generally, it manifested through deeply idealized representations of wiry workers, shown as heroes in collective farms or industrialized cities, political assemblies, achievements of Soviet technology, and through depictions happy children staying around Lenin or Stalin. Both subject matter and representation were carefully monitored. Artistic merit was determined by the degree to which a work contributed to the building of socialism. All artists had to join the state-controlled Union of Soviet Artists and produce work in the accepted style. The three guiding principles of Socialist Realism were party loyalty, presentation of correct ideology and accessibility. Realism, more easily understood by the masses, was the style of choice. At the beginning, in the Soviet Union, multiple competing avant-garde movements were present, notably Constructivism. However, as Stalin consolidated his power towards the end of the 1920s, avant-garde art and architecture were suppressed and eventually outlawed and official state styles were established. After Boris Iofan won the competition for the design of the Palace of the Soviets with a stepped classical tower, surmounted by a giant statue of Lenin, architecture soon reverted to pre-Revolutionary styles of art and architecture, untainted by Constructivism's perceived Western influence. Although Socialist Realism in architecture ended more or less with the death of Stalin and the rise of Nikita Khrushchev, paintings in this style continued to be produced, especially in countries where there was a strong personality cult of the leader in power, like in the case of Mao Zedong's China, Kim Il Sung's North Korea, or Nicolae Ceaușescu's Romania.

The Nazis suppressed Germany's vibrant avant-garde culture once they gained control of the government in 1933. Albert Speer was set as Adolf Hitler's architectural advisor in 1934, and he tried to create an architecture that would both reflect the perceived unity of the German people and act as backdrop to the Nazis' expressions of power. The Nazis' approach to architecture was riffled with contradictions: while Hitler and Speer's plans for reordering Berlin aspired to imitate imperial Rome, in rural contexts Nazi buildings took inspiration from local vernaculars, trying to channel an 'authentic' German spirit. When it come to fine art, the Nazis created the term 'Degenerate art' for Modern art, a kind of art which to them was 'un-German', 'Jewish' or 'Communist'. The Nazis hated modern art and linked it to 'Cultural Bolshevism', the conspiracy theory that art (or culture broadly) was controlled by a leftist Jewish cabal seeking to destroy the aryan race. Hitler's war on Modern art mostly consisted of an exhibition that tried to discredit Modern artists, called the 'Degenerate Art exhibition' (Die Ausstellung "Entartete Kunst"). This exhibition was displayed next to the Great Exhibition of German Art, which consisted of artworks that the Nazis approved of. This way, the visitiors of both exhibitions could compare the art labeled by the regime as 'good' and 'bad'. With a similar atitude, the regime closed in 1931 the Bauhaus, an avant-garde art school in Dessau that was extremely influential post-war. It reopened in Berlin in 1932, but was closed again in 1933.

Compared to Germany and the Soviet Union, in Italy the avant-garde contributed to state architecture. Classical architecture was also an influence, echoing Benito Mussolini's far cruder attempts to create links between his Fascist regime and ancient Rome. Some Italian architects tried to create fusions between Modernism and Classicism, like Marcello Piacentini with the Sapienza University of Rome, or Giuseppe Terragni with Casa del Fascio in Como.

In Romania, towards the late 1930s, influenced by the Autocratic tendency of King Carol II, multiple state buildings were erected. They were Neoclassical, many very similar with what was popular in the same years in Fascist Italy. Examples in Bucharest include the University Rectorate and Law Faculty Building (Bulevardul Mihail Kogălniceanu no. 36–46), the Kretzulescu Apartment Building (Calea Victoriei no. 45), the CFR Building (Bulevardul Dinicu Golescu no. 38) or the Victoria Palace (Piața Victoriei no. 1). The Royal Palace, whose interiors are mostly done in a neo-Adam style, stands out by being more decorated, a little closer to the architecture before World War I.

Postmodernism
An early text questioning Modernism was by architect Robert Venturi, Complexity and Contradiction in Architecture (1966), in which he recommended a revival of the 'presence of the past' in architectural design. He tried to include in his own buildings qualities that he described as 'inclusion, inconsistency, compromise, accommodation, adaptation, superadjacency, equivalence, multiple focus, juxtaposition, or good and bad space.' Robert Venturi's work reflected the broader counter-cultural mood of the 1960s which saw younger generations begin to question and challenge the political, social and racial realities with which they found themselves confronted. This rejection of Modernism is known as Postmodernism. Robert Venturi parodies Ludwig Mies van der Rohe's well-known maxim 'less is more' with 'less is a bore'. During the 1980s and 1990s, some Postmodern architects found a refuge in a sort of Neo-Neoclassicism. Their use of Classicism was not limited only to ornaments, using more or less proportions and other principles too. Post-Modern Classicism had been variously described by some people as 'camp' or 'kitsch'. An architect who has been remarked through Post-Modern Classicism is Ricardo Bofill. His work includes two housing projects of titanic scale near Paris, known as Les Arcades du Lac from 1975 to 1981, and Les Espaces d'Abraxas from 1978 to 1983. A building that stands out through its revivalism is the J. Paul Getty Museum, in Malibu, California, from 1970 to 1975, inspired by the ancient Roman Villa of the Papyri at Herculaneum. The J. Paul Getty Museum is far closer to 19th century Neoclassicism, like the Pompejanum in Aschaffenburg, Germany, than to Post-Modern Classicism of the 1980s.

Architecture in the 21st century
After a lull during the period of modern architectural dominance (roughly post-World War II until the mid-1980s), Neoclassicism has seen something of a resurgence.

As of the first decade of the 21st century, contemporary Neoclassical architecture is usually classed under the umbrella term of New Classical Architecture. Sometimes it is also referred to as Neo-Historicism or Traditionalism. Also, a number of pieces of postmodern architecture draw inspiration from and include explicit references to Neoclassicism, Antigone District and the National Theatre of Catalonia in Barcelona among them. Postmodern architecture occasionally includes historical elements, like columns, capitals or the tympanum.

For sincere traditional-style architecture that sticks to regional architecture, materials and craftsmanship, the term Traditional Architecture (or vernacular) is mostly used. The Driehaus Architecture Prize is awarded to major contributors in the field of 21st century traditional or classical architecture, and comes with a prize money twice as high as that of the modernist Pritzker Prize.

In the United States, various contemporary public buildings are built in Neoclassical style, with the 2006 Schermerhorn Symphony Center in Nashville being an example.

In Britain, a number of architects are active in the Neoclassical style. Examples of their work include two university libraries: Quinlan Terry's Maitland Robinson Library at Downing College and Robert Adam Architects' Sackler Library.

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title: Neoclassicism


text:
Neoclassical

Neoclassical or neo-classical may refer to:

 * Neoclassicism or New Classicism, any of a number of movements in the fine arts, literature, theatre, music, language, and architecture beginning in the 17th century
 * Neoclassical architecture, an architectural style of the 18th and 19th centuries
 * Neoclassical sculpture, a sculptural style of the 18th and 19th centuries
 * New Classical architecture, an overarching movement of contemporary classical architecture in the 21st century
 * in linguistics, a word that is a recent construction from Neo-Latin based on older, classical elements
 * Neoclassical ballet, a ballet style which uses traditional ballet vocabulary, but is generally more expansive than the classical structure allowed
 * The "Neo-classical period" of painter Pablo Picasso immediately following World War I
 * Neoclassical economics, a general approach in economics focusing on the determination of prices, outputs, and income distributions in markets through supply and demand
 * Neoclassical realism, theory in international relations
 * Neo-classical school (criminology), a school in criminology that continues the traditions of the Classical School within the framework of Right Realism
 * Neo-classical theology, another name for process theology, a school of thought influenced by the metaphysical process philosophy of Alfred North Whitehead
 * Neoclassical transport is an effect seen in magnetic fusion energy reactors

Music

 * Neoclassicism (music), a musical movement of the 20th century particularly popular in the period between the two World Wars
 * Neoclassical dark wave, a genre of darkwave music
 * Neoclassical metal, a subgenre of heavy metal music influenced by classical music
 * Neoclassical new-age music, a subgenre of new age music

title: Neoclassical