Sophia Cathedral in Pushkin (1782–1788) was the earliest and isolated experiment with Byzantine treatment of otherwise neoclassical structures. In 1830s Nicholas I of Russia promoted the so-called Russo-Byzantine style of churches designed by Konstantin Thon. Nicholas I despised true Byzantine art; Thon's style in fact had little common with it. Notably, Thon routinely replaced the circular Byzantine arch with a keel-shaped gable, and the hemispherical Byzantine dome with an onion dome; layout and structural scheme of his churches clearly belonged to neoclassical standard.
True Byzantine art, popularized by Grigory Gagarin and David Grimm, was adopted by Alexander II of Russia as the de facto official style of the Orthodox Church. Byzantine architecture became a vehicle of Orthodox expansion on the frontiers of Empire (Congress Poland, Crimea, the Caucasus). However, few buildings were completed in the reign of Alexander II due to financial troubles. Alexander III changed state preference in favor of Russian Revival trend based on 16th-17th century Moscow and Yaroslavl tradition, yet Byzantine architecture remained a common choice, especially for large cathedrals. Neo-Byzantine cathedrals concentrated in the western provinces (Poland, Lithuania), the Army bases in Caucasus and Central Asia, the Cossack hosts and the industrial region in Urals around the city of Perm. Architects David Grimm and Vasily Kosyakov developed a unique national type of a single-dome Byzantine cathedral with four symmetrical pendentive apses that became de facto standard in 1880s-1890s.
The reign of Nicholas II was notable for the architect's turn from this standard back to Hagia Sophia legacy, peaking in the Naval Cathedral in Kronstadt and Poti cathedral. These designs employed reinforced concrete that allowed very fast construction schedule; their interiors contained clear references to contemporary Art Nouveau yet the exteriors were a clear homage to medieval Constantinople. Russian Neo-Byzantine tradition was terminated by the Russian Revolution of 1917 but was continued by emigrant architects in Yugoslavia and Harbin.
The building of the New Palace in Vrana Palace, Sofia
The Bulgarian Neo-Byzantine style from the end of the 19th and the beginning of the 20th century is often a combination of Byzantine, typical Bulgarian, Eastern Orthodox and Secession/ Art Nouveau/ Modernisme elements.
Regional History Museum Sofia, former Sofia Central Public Mineral Baths (1913) - the building was designed in the Vienna Secession style, but integrating typically Byzantine, Bulgarian and Eastern Orthodox ornamental elements;
Vrana Palace - the building of the New Palace in "Vrana" is a two-storey massive building, executed in typical Bulgarian style with Secession elements, combined in an elegant Neo-Byzantine spirit.
Entrance of the Laurențiu and Louise Steinebach House, Bucharest (most of its architectural elements, both exterior the interior, with little Romanian Revival influences)
Serbia's modern sacral architecture got its main impetus from the dynastic burial church in Oplenac which was commissioned by the Karađorđeviċ dynasty 1909.[5] With the arrival of Russian émigré artists after the October Revolution, Belgrade's main governmental edifices were planned by eminent Russian architects trained in Russia. It was King Alexander I who was the patron of the Neo-Byzantine movement.[6] Its main proponents were Aleksandar Deroko, Momir Korunović, Branko Krstić, Grigorije Samojlov and Nikolay Krasnov. Their main contribution were the royal castles on Dedinje, the Church of Saint Sava and the St. Mark's Church in Belgrade. After the communist era ended, Mihajlo Mitrović and Nebojša Popović were proponents of new tendencies in sacral architecture which used classic examples in the Byzantine tradition.[7]
Turkey
Istanbul Agia Triada in Taksim
Ayvalık Agios Georgios (Cınarlı mosque), Agios Ioannis (Saatli mosque), Taxiarchis in Moschonisi/Cunda
One of the earliest examples in France is the enormous Marseille Cathedral, built between 1852 and 1893, and the basilica of Notre-Dame de la Garde, both located in Marseille.
The Saint-Augustin in Paris build between 1860 and 1871 is an example of Eclectic Romano-Byzantine architecture.
A prominent example of Byzantine Revival architecture in France is the Basilica of Sacre-Coeur in Paris, built between 1875 and 1914, based on the original plan of Paul Abadie. It features five elongated domes on the exterior and an interior with mosaics and other art inspired by Byzantine art.[9] Inspired by the former is another excellent example - the Basilica of Sainte-Thérèse, Lisieux completed in 1954.
The Basilica of the National Shrine of the Immaculate Conception is a large Catholic minor basilica and national shrine located in Washington, D.C., United States of America.
The shrine is the largest Catholic church in North America, one of the largest churches in the world,[10] and the tallest habitable building in Washington, D.C.[11][12][13] Its construction of Byzantine Revival and Romanesque Revival architecture began on September 23, 1920, with renowned contractor John McShain and was completed on December 8, 2017, with the dedication and solemn blessing of the Trinity Dome mosaic on December 8, 2017, the Feast of the Immaculate Conception, by CardinalDonald William Wuerl.[14]
^Croitoru-Tonciu, Monica (2022). Alfred Popper - 1874-1946 - (re)descoperirea unui arhitect (in Romanian). SIMETRIA. p. 72. ISBN978-973-1872-51-3.
^Mariana Celac, Octavian Carabela and Marius Marcu-Lapadat (2017). Bucharest Architecture - an annotated guide. Ordinul Arhitecților din România. p. 90. ISBN978-973-0-23884-6.
^Croitoru-Tonciu, Monica (2022). Alfred Popper - 1874-1946 - (re)descoperirea unui arhitect (in Romanian). SIMETRIA. p. 94. ISBN978-973-1872-51-3.
^Ghigeanu, Mădălin (2022). Curentul Mediteraneean în arhitectura interbelică. Vremea. p. 530. ISBN978-606-081-135-0.
^Aleksandar Kadijević: Byzantine architecture as inspiration for serbian new age architects. Katalog der SANU anlässlich des Byzantinologischen Weltkongresses 2016 und der Begleitausstellung in der Galerie der Wissenschaften und Technik in der Serbischen Akademie der Wissenschaften und Künste. Serbian Committee for Byzantine Studies, Belgrade 2016, ISBN978-86-7025-694-1, S. 87.
^Aleksandar Kadijević: Byzantine architecture as inspiration for serbian new age architects. Katalog der SANU anlässlich des Byzantinologischen Weltkongresses 2016 und der Begleitausstellung in der Galerie der Wissenschaften und Technik in der Serbischen Akademie der Wissenschaften und Künste. Serbian Committee for Byzantine Studies, Belgrade 2016, ISBN978-86-7025-694-1, S. 62.
^Aleksandar Kadijević 2016: Between Artistic Nostalgia and Civilisational Utopia: Byzantine Reminiscences in Serbian Architecture of the 20th Century. Lidija Merenik, Vladimir Simić, Igor Borozan (Hrsg.) 2016: IMAGINING THE PAST THE RECEPTION OF THE MIDDLE AGES IN SERBIAN ART FROM THE 18TH TO THE 21ST CENTURY. Ljubomir Maksimovič & Jelena Trivan (Hrsg.) 2016: BYZANTINE HERITAGE AND SERBIAN ART I–III. The Serbian National Committee of Byzantine Studies, P.E. Službeni glasnik, Institute for Byzantine Studies, Serbian Academy of Sciences and Arts. Hier S. 177 (Academia:PDF)