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A group of 19th century architectural revival styles which drew inspiration from a wide range of 16th century classicizing Italian modes.
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Neo-Renaissance is at least heralded in Ledoux and others of his generation, i.e. round arches on detached columns and round-arched windows, and complete in Klenze’s Leuchtenberg Palace at Munich in 1816 and Barry’s Travellers’ Club in 1829.
Neo-Baroque developed especially in France and Flanders from the eighteen-seventies and beyond, and in this part it enjoyed a position corresponding to that of the neo-Renaissance in Germany.
With its pilastered alcoves and richly decorated plafond, its baldachins, tapestries, brocade upholstery, and massive palm fronds, Makart's studio epitomized the neo-Renaissance style, also known as Renaissance Revival or German Renaissance, which defined the look of countless bourgeois parlours in the Second Empire.
To be added, as a characteristic curiosity, K. Scheffler, Der Geist der Gotik, Leipzig 1925, which on strength of “by their fruits shall ye know them”, makes St. Peter's and, in the last analysis, the Pantheon, responsible for the Neo-Renaissance of the Victorian, Edwardian and Wilhelminian eras (without, however, blaming the results of the contemporary Gothic and Romanesque revivals on the Cathedrals of Speyer or Reims).