In 1759 the young George Dance") arrived in Rome, where he met Giovanni Battista Piranesi and made the first scale drawings of the Temple of Castor and Pollux. In 1762 he participated in a competition organized by the Academy of Parma, with which he won the gold medal the following year: it was a complex characterized by domes and walls with a padding clearly derived from the knowledge of the competitions organized by the Accademia di San Luca. After returning to England matured a neoclassical language close to that of Claude-Nicolas Ledoux, as demonstrated by the project of the massive Newgate prison (1770-78), in London, which is not preserved.[17]​.

Around 1780 he repurposed a Hampshire country house, providing it with a ballroom illuminated from above, which can be considered an anticipation of the structural schemes appreciated by John Soane. This model was also taken up by Dance in other projects, usually characterized by domes or semi-domes that seem to come from the temple of Minerva Medica in Rome or the Serapeion of Hadrian's Villa in Tivoli, but which are also found in French projects submitted to the major architecture awards.[18]​.

Twelve years younger, Soane studied with Dance and Henry Holland. Considered by critics as almost the exclusive representative of English revolutionary neoclassicism,[19] Soane was influenced by Dance and especially by Ledoux. The turning point of his career came in 1788, when he obtained his first important commission: that of the Bank of England, in London. The exterior, in its original configuration, showed a new rigidity; Also inside, his contributions seemed very austere due to the lowered domes and the reduction of classical decoration, in a context based on extreme structural simplicity. However, the piecemeal growth of the bank building, expanded by Soane over the years, denotes the typically English and picturesque character of the building.[20]​.

A typical solution for Soane interiors are the so-called "suspended ceilings", or domed canopies. The first appearance of this solution occurred in the living room of his house in Ealing (London, Pitzhanger Manor), a room with funereal tones reminiscent of the idea of «buried architecture» theorized by Étienne-Louis Boullée for the «Temple of Death»: an architecture characterized by low proportions, by the use of materials that absorb light and by impenetrable areas of shadow. In other interiors, such as the breakfast room of his house in Lincoln's Inn Field, Soane made light penetrate from above, generating an almost supernatural effect on the observer, in a synthesis between the mysterious luminosity of visionary French architecture and the English picturesque tradition of the 19th century.[20]​.

In Germany, the echoes of revolutionary architecture are related to the figure of Friedrich Gilly. He was part of a group of young architects who, in the last part of the century, discovered the vigorous beauty of the Doric order. His projects for a large theater in Berlin and the mausoleum of Frederick the Great reflect his taste devoid of ornamental details and reveal his interest in the French architects of the Revolution and in his model, Giovanni Battista Piranesi; Gilly seems to anticipate a new style, which in some way will influence Karl Friedrich Schinkel, but as with Claude-Nicolas Ledoux and John Soane, these promises will not lead to a concrete renewal of architecture.[21] The works of the Danish architect Christian Frederik Hansen are directly linked to Gilly. Its main achievement, the Copenhagen Cathedral "Cathedral of Our Lady (Copenhagen)") (1808-29), has Doric colonnades that support a large coffered vault reminiscent of Étienne-Louis Boullée's project for a large library.[22]​.

In Russia, Tsar Alexander I collected the designs of Claude-Nicolas Ledoux, who had dedicated his work L'architecture considérée sous le rapport de l'art, des moeurs et de la législazion to the sovereign.[23] In this context, the architects Jean-François Thomas de Thomon, Andrejan Dmitrievič Zacharov") and Vasilij Petrovič Stasov") were deeply influenced by French culture. The work that opens neoclassicism in Russia at the beginning of the century, the Saint Petersburg Stock Exchange, by Jean-François Thomas de Thomon, combines elements of Boullée with references taken from Paestum; The Admiralty of Saint Petersburg, designed by Zacharov, seems to realize in its colossal dimensions the dream of the French Enlightenment architects,[24]​ while in some works by Stasov a rigid geometric design similar to those of Ledoux can be seen.[16]​.

Jacobin Italy also produced numerous classicist projects, but with not particularly original results. The project of the Bonaparte Forum in Milan, by Giovanni Antonio Antolini (1801), is closely connected to the Royal Saltworks of Arc-et-Senans, but does not achieve the same fluidity and concreteness: despite returning to Ledoux's centrifugal scheme, Antolini's project seems linked to excessive formalism, with the geometric repetition of structures characterized by the same shape, but intended to accommodate different functions.[25] Slightly later, the The project of the monument to Napoleon in the shape of a pyramid with porticos, designed by Giannantonio Selva in 1813, is often compared to Boullée, although all the elements that characterize this project are already found in a panel by Nicolas-Henri Jardin from 1747 that reproduces a sepulchral chapel.[26] A particularly interesting episode is recorded in the years of the Restoration, in the Grand Duchy of Tuscany, with the completion of the Cisternone of Livorno (1829-42), a work worthy of the Ledoux of Arc-et-Senans,[27]​ and considered the most successful attempt in Italy, and perhaps in all of Europe, to realize the dreams of the visionaries on the other side of the Alps.[28]​ Designed by Pasquale Poccianti"), for the accumulation and distribution of the waters of the city's aqueduct"), has a façade characterized by a strong symbolic value; The communicative load is entrusted to a semi-dome with cassettes, a kind of shell that constitutes an allusion to the use of the building.

In the United States, Thomas Jefferson was perhaps inspired by Ledoux's Hôtel Guimard to design the pavilion of the University of Virginia.[29] Another architect, Benjamin Latrobe, designed the Supreme Court Chamber of the Capitol in Washington, revealing a close affinity with the works of Ledoux and John Soane. Thomas U. Walter "was based on the French models and on those of Karl Friedrich Schinkel" in the project of the Ohio Capitol ") (1838).[30]​.

After the Revolution, France suffered a slowdown in real estate activity, which was characterized by constructions of little originality. The promises of a completely new architecture were not fulfilled, crushed by the uncertainties due to the rapid and disorderly growth of cities in the 20th century, which prompted many architects to seek a safe haven in the past. Furthermore, their main clients belonged to that new bourgeois class, quickly enriched and animated by great energies, but endowed with little culture, who, feeling detached from any obligation to the rules of good taste, altered that stylistic unity that had characterized architecture until the 19th century, orienting the century towards eclecticism "Eclecticism (art)").[31]​ In this context, the revolutionary architects were forgotten by academic historiography. Subsequently, the rationalist ideal that will characterize the avant-garde from the twenties and thirties of the century, with the Bauhaus and Le Corbusier, will lead to a rediscovery of the geometric rigor of those who, in 1952, Emil Kaufmann) will define "revolutionary architects".[32][33]​.

The relationship between revolutionary architecture and the Modern Movement has been widely analyzed by critics. Some scholars have identified precisely in Étienne-Louis Boullée and Claude-Nicolas Ledoux the beginning of a process of rationalization and figurative simplification that anticipates the development of the Modern Movement,[34]​ starting with the architects of the Viennese school Adolf Loos, Josef Hoffmann and Oskar Strnad,[35]​ until reaching Le Corbusier.[36]​ There are also quotes from the architects of the Revolution in the postmodernism, for example in some works by Aldo Rossi,[37]​ Arata Isozaki, Michael Graves,[38]​ Philip Johnson[39]​ and Mario Botta.[40]​.

Finally, revolutionary architecture can be related to the colossal projects developed by the totalitarian regimes of the first half of the century; In the Berlin Volkshalle project, Albert Speer adopted the same forms of Newton's cenotaph designed by Boullée to produce a volume capable of gathering and representing the ambitions of Nazi Germany.[41]​.

In 1759 the young George Dance") arrived in Rome, where he met Giovanni Battista Piranesi and made the first scale drawings of the Temple of Castor and Pollux. In 1762 he participated in a competition organized by the Academy of Parma, with which he won the gold medal the following year: it was a complex characterized by domes and walls with a padding clearly derived from the knowledge of the competitions organized by the Accademia di San Luca. After returning to England matured a neoclassical language close to that of Claude-Nicolas Ledoux, as demonstrated by the project of the massive Newgate prison (1770-78), in London, which is not preserved.[17]​.

Around 1780 he repurposed a Hampshire country house, providing it with a ballroom illuminated from above, which can be considered an anticipation of the structural schemes appreciated by John Soane. This model was also taken up by Dance in other projects, usually characterized by domes or semi-domes that seem to come from the temple of Minerva Medica in Rome or the Serapeion of Hadrian's Villa in Tivoli, but which are also found in French projects submitted to the major architecture awards.[18]​.

Twelve years younger, Soane studied with Dance and Henry Holland. Considered by critics as almost the exclusive representative of English revolutionary neoclassicism,[19] Soane was influenced by Dance and especially by Ledoux. The turning point of his career came in 1788, when he obtained his first important commission: that of the Bank of England, in London. The exterior, in its original configuration, showed a new rigidity; Also inside, his contributions seemed very austere due to the lowered domes and the reduction of classical decoration, in a context based on extreme structural simplicity. However, the piecemeal growth of the bank building, expanded by Soane over the years, denotes the typically English and picturesque character of the building.[20]​.

A typical solution for Soane interiors are the so-called "suspended ceilings", or domed canopies. The first appearance of this solution occurred in the living room of his house in Ealing (London, Pitzhanger Manor), a room with funereal tones reminiscent of the idea of «buried architecture» theorized by Étienne-Louis Boullée for the «Temple of Death»: an architecture characterized by low proportions, by the use of materials that absorb light and by impenetrable areas of shadow. In other interiors, such as the breakfast room of his house in Lincoln's Inn Field, Soane made light penetrate from above, generating an almost supernatural effect on the observer, in a synthesis between the mysterious luminosity of visionary French architecture and the English picturesque tradition of the 19th century.[20]​.

In Germany, the echoes of revolutionary architecture are related to the figure of Friedrich Gilly. He was part of a group of young architects who, in the last part of the century, discovered the vigorous beauty of the Doric order. His projects for a large theater in Berlin and the mausoleum of Frederick the Great reflect his taste devoid of ornamental details and reveal his interest in the French architects of the Revolution and in his model, Giovanni Battista Piranesi; Gilly seems to anticipate a new style, which in some way will influence Karl Friedrich Schinkel, but as with Claude-Nicolas Ledoux and John Soane, these promises will not lead to a concrete renewal of architecture.[21] The works of the Danish architect Christian Frederik Hansen are directly linked to Gilly. Its main achievement, the Copenhagen Cathedral "Cathedral of Our Lady (Copenhagen)") (1808-29), has Doric colonnades that support a large coffered vault reminiscent of Étienne-Louis Boullée's project for a large library.[22]​.

In Russia, Tsar Alexander I collected the designs of Claude-Nicolas Ledoux, who had dedicated his work L'architecture considérée sous le rapport de l'art, des moeurs et de la législazion to the sovereign.[23] In this context, the architects Jean-François Thomas de Thomon, Andrejan Dmitrievič Zacharov") and Vasilij Petrovič Stasov") were deeply influenced by French culture. The work that opens neoclassicism in Russia at the beginning of the century, the Saint Petersburg Stock Exchange, by Jean-François Thomas de Thomon, combines elements of Boullée with references taken from Paestum; The Admiralty of Saint Petersburg, designed by Zacharov, seems to realize in its colossal dimensions the dream of the French Enlightenment architects,[24]​ while in some works by Stasov a rigid geometric design similar to those of Ledoux can be seen.[16]​.

Jacobin Italy also produced numerous classicist projects, but with not particularly original results. The project of the Bonaparte Forum in Milan, by Giovanni Antonio Antolini (1801), is closely connected to the Royal Saltworks of Arc-et-Senans, but does not achieve the same fluidity and concreteness: despite returning to Ledoux's centrifugal scheme, Antolini's project seems linked to excessive formalism, with the geometric repetition of structures characterized by the same shape, but intended to accommodate different functions.[25] Slightly later, the The project of the monument to Napoleon in the shape of a pyramid with porticos, designed by Giannantonio Selva in 1813, is often compared to Boullée, although all the elements that characterize this project are already found in a panel by Nicolas-Henri Jardin from 1747 that reproduces a sepulchral chapel.[26] A particularly interesting episode is recorded in the years of the Restoration, in the Grand Duchy of Tuscany, with the completion of the Cisternone of Livorno (1829-42), a work worthy of the Ledoux of Arc-et-Senans,[27]​ and considered the most successful attempt in Italy, and perhaps in all of Europe, to realize the dreams of the visionaries on the other side of the Alps.[28]​ Designed by Pasquale Poccianti"), for the accumulation and distribution of the waters of the city's aqueduct"), has a façade characterized by a strong symbolic value; The communicative load is entrusted to a semi-dome with cassettes, a kind of shell that constitutes an allusion to the use of the building.

In the United States, Thomas Jefferson was perhaps inspired by Ledoux's Hôtel Guimard to design the pavilion of the University of Virginia.[29] Another architect, Benjamin Latrobe, designed the Supreme Court Chamber of the Capitol in Washington, revealing a close affinity with the works of Ledoux and John Soane. Thomas U. Walter "was based on the French models and on those of Karl Friedrich Schinkel" in the project of the Ohio Capitol ") (1838).[30]​.

After the Revolution, France suffered a slowdown in real estate activity, which was characterized by constructions of little originality. The promises of a completely new architecture were not fulfilled, crushed by the uncertainties due to the rapid and disorderly growth of cities in the 20th century, which prompted many architects to seek a safe haven in the past. Furthermore, their main clients belonged to that new bourgeois class, quickly enriched and animated by great energies, but endowed with little culture, who, feeling detached from any obligation to the rules of good taste, altered that stylistic unity that had characterized architecture until the 19th century, orienting the century towards eclecticism "Eclecticism (art)").[31]​ In this context, the revolutionary architects were forgotten by academic historiography. Subsequently, the rationalist ideal that will characterize the avant-garde from the twenties and thirties of the century, with the Bauhaus and Le Corbusier, will lead to a rediscovery of the geometric rigor of those who, in 1952, Emil Kaufmann) will define "revolutionary architects".[32][33]​.

The relationship between revolutionary architecture and the Modern Movement has been widely analyzed by critics. Some scholars have identified precisely in Étienne-Louis Boullée and Claude-Nicolas Ledoux the beginning of a process of rationalization and figurative simplification that anticipates the development of the Modern Movement,[34]​ starting with the architects of the Viennese school Adolf Loos, Josef Hoffmann and Oskar Strnad,[35]​ until reaching Le Corbusier.[36]​ There are also quotes from the architects of the Revolution in the postmodernism, for example in some works by Aldo Rossi,[37]​ Arata Isozaki, Michael Graves,[38]​ Philip Johnson[39]​ and Mario Botta.[40]​.

Finally, revolutionary architecture can be related to the colossal projects developed by the totalitarian regimes of the first half of the century; In the Berlin Volkshalle project, Albert Speer adopted the same forms of Newton's cenotaph designed by Boullée to produce a volume capable of gathering and representing the ambitions of Nazi Germany.[41]​.