Gilly would have been overshadowed by his son Friedrich (1771-1800) had the latter lived, or so one must judge, not from his modest Mölter house in the Tiergartenstrasse in Berlin of 1799, but from certain major projects. One, of 1797, is for a monument to Frederick the Great which was widely and deeply influential for many years to come; another, of 1800, is for a Prussian National Theatre, improving upon Ledoux’s at Besançon as regards the interior and very original in its external massing. The monument raised a Greek Doric temple on a tremendous substructure of the most abstract geometrical character, surrounded it with obelisks, and set the whole in a vast open space, unconfined but—as it were—defined by subsidiary structures of very fresh and varied design (Plate [9A]). The handsome gateway to the square seems to provide evidence of Gilly’s familiarity with such a highly personal work of Soane as his entrance arch at Tyringham (Plate [6A]); however, the general tone of somewhat funereal grandeur recalls rather the monumental projects of Ledoux, Boullée, and the younger men of France who designed so much and built so little in this decade. Other contemporary Berlin architects, such as Heinrich Gentz (1766-1801), who built the old Mint in 1798-1800, and Friedrich Becherer (1746-1823), who built the Exchange in 1801, while up-to-date stylistically, were much less accomplished than Friedrich Gilly. His artistic heir was his fellow pupil Schinkel, whose architectural career really began in 1816 (see Chapter [2]).
Figure 1. Friedrich Weinbrenner: Karlsruhe, Marktplatz, 1804-24, plan
The Baden architect Friedrich Weinbrenner (1766-1826) was already active in Strasbourg in the 1790s, and his monument of 1800 to General Desaix on the Île des Épis, Bas-Rhin, is so French in every way that it properly finds a place in the official publication by Gourlier and others of the public works of France in these years. Returning to Karlsruhe, Weinbrenner began perhaps the most productive architectural career of any German of his generation, transforming the Baden capital into a Romantic Classical city somewhat less monumental, but more coherently exemplary, than Petersburg. His own house there dated from 1801 and his Ettlinger Gate from 1803. In 1804 he began work on the Marktplatz there, basing himself, however, on earlier projects that he had made in 1790 and in 1797 (Plate [10A]). A Baroque scheme exists on paper for this square, closing it in with continuous façades and curving them round the ends. Weinbrenner’s characteristically Romantic Classical approach to the design of a square is quite different, similar to if somewhat less open than Friedrich Gilly’s intended setting for the Frederick the Great Monument (Figure [1]). Two balancing but not identical buildings, each more or less isolated, face each other across the centre of the oblong space. The other less important structures appear as separate blocks. Their relative geometrical purity is underlined by the even purer form of the plain pyramidal monument erected in the centre in 1823. Such had for some time provided favourite decorations in Romantic gardens, but this was the first to be used as a focal accent in place of an arch, a column, or an obelisk. The City Hall on one side, with the associated Lyceum, was begun in 1804 and completed some twenty years later. The temple-like Evangelical Church which faces the City Hall was built in 1807-16. Something of the grand scale of the Corinthian portico on the front of the church is carried over into the interior, where two tiers of galleries run along the sides behind giant Corinthian nave colonnades. In the circular Rondellplatz, punctuated eventually by an obelisk in the centre, there rose in 1805-13 Weinbrenner’s Markgräfliches Palais, its portico set against the concave quadrant of the front. His domed Catholic church of 1808-17 was unfortunately entirely rebuilt in 1880-3.
Similar to Weinbrenner’s Rondellplatz is the Karolinenplatz in Munich, laid out by Karl von Fischer (1782-1820) in 1808. But this was originally even more Romantic Classical in disposition, since the individual houses were all discrete blocks set in the segments between the entering streets. The 106-foot obelisk in the centre here was erected in 1833 by Leo von Klenze (1784-1864). Fischer’s National Theatre in the Max-Josephsplatz in Munich, projected in 1810 and built in 1811-18—and later rebuilt by Klenze according to the original design after a fire in 1823—is a quite conventional monument of its day dominated by a great temple portico. Though not very crisp in its proportions, this theatre has real presence, particularly in relation to the less boldly scaled Renaissance Revival buildings by Klenze, the Königsbau of 1826 and the Hauptpostamt of ten years later, which flank it on the sides of the square.
Not to extend unduly this catalogue of German work of the very opening years of the nineteenth century, one may conclude with mention of the Women’s Prison in Würzburg by Peter Speeth (1772-1831) built in 1809-10. In this, much of the boldness of design of the French prison projects of Ledoux and Boullée was happily realized, if at a rather modest scale (Plate [17B]). Speeth later proceeded to Russia, but what he did there is a mystery.
Austrian production was rather limited and on the whole undistinguished in this period. The extant façade by Franz Jäger (1743-1809) of the Theater an der Wien of 1797-1801 off the Linke Wienzeile in Vienna has a delicacy that is more style Louis XVI than Romantic Classical. Neither the Palais Rasumofsky at 23-25 Rasumofskygasse in Vienna of 1806-7, built by Louis Joseph von Montoyer (c. 1749-1811) for Beethoven’s patron, nor his Albertina of 1800-4 on the Augustinerbastei has much character. There is equally little to be said for the Palais Palffy of 1809 at 3 Wallnerstrasse by the other leading Viennese architect of the day, Karl von Moreau (1758-1841). Despite his French name, Montoyer was a Hapsburg subject from the Walloon provinces; Moreau’s origin is uncertain, but he is reputed to have been trained, if not born, in France. If he was not French, Austria would be one of the few countries where no French architect worked in this period.
A certain sort of primacy must certainly be given to France in this period, although less definitely than in the decades 1750-90, because the French became the educators of the world in architecture and the codifiers of style once a new post-Baroque style had been created. Among Napoleon’s new institutional establishments was the École Polytechnique. Here architecture was taught by Durand, a pupil of Boullée, under the Empire and the following Restoration. His Précis des leçons became a sort of Bible of later Romantic Classicism throughout his lifetime and even beyond. Above all in Germany, the instruction of Durand provided the link between the innovations of the creative decades before the Revolution in France and a new generation of architects who matured just in time to take over the building activities of the kingdoms which rose from the ruins of Napoleon’s empire. We may well precede any description of the achievements of Romantic Classicism after 1810 with some consideration of Durand’s treatise.