Training
The Beaux-Arts training emphasized the mainstream examples of Imperial Roman architecture between Augustus and the Severan emperors, Italian Renaissance, and French and Italian Baroque models especially, but the training could then be applied to a broader range of models: Quattrocento Florentine palace fronts or French late Gothic. American architects of the Beaux-Arts generation often returned to Greek models, which had a strong local history in the American Greek Revival of the early 19th century. For the first time, repertories of photographs supplemented meticulous scale drawings and on-site renderings of details.
Some aspects of Beaux-Arts approach could degenerate into mannerisms. Beaux-Arts training made great use of agrafes, clasps that links one architectural detail to another; to interpenetration of forms, a Baroque habit; to "speaking architecture" (architecture parlante) in which supposed appropriateness of symbolism could be taken to literal-minded extremes.
Beaux-Arts training emphasized the production of quick conceptual sketches, highly-finished perspective presentation drawings, close attention to the program, and knowledgeable detailing. Site considerations tended toward social and urbane contexts.
All architects-in-training passed through the obligatory stages — studying antique models, constructing analos, analyses reproducing Greek or Roman models, "pocket" studies and other conventional steps — in the long competition for the few desirable places at the Académie de France à Rome (housed in the Villa Medici) with traditional requirements of sending at intervals the presentation drawings called envois de Rome.
Read more about this topic: Beaux-Arts Architecture
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