rought about such monumental advances in technology and availability of old and new materials, that the attempt to somehow overcome innovation with tradition proved to be, in many ways, unrealistic. It became hard to ignore the new techniques in construction provided by technology and the introduction of iron, steel, glass, and other industrial materials. On the other hand, with the rise of the Industrial Revolution standing on the platform of the Intellectual Revolution, new scientific scholarship produced new perspectives and a kind of clarity on historical styles. It is no surprise that with this investment in knowledge and self-awareness, (largely forged by such philosophical "spokesmen" as Georg Wilhelm Friedrich Hegel and Sigmund Freud), came the ability to variate even more on tradition through expanded knowledge of those traditions.
             The most important monumental and conventional buildings of the time were part of three stylistic currents which took the lead out of this conflict. These were International Neoclassicism, Ecole des Beaux-Arts, and Victorian Gothic. (Hyman & Trachtenberg; 418)
             Fredrich Schinkel's Altes Museum in Berlin (1824-28) is a prime example of this type of synthesis between Renaissance, Functionalist and eclectic styles.
             There is truly something intrinsically theatrical in the architectural "performance" of the Berlin theater; but the museum was meant to suggest a shrine for cultural treasures, a place for calm and deep communion with great works of art of the past ages. (Hyman & Trachtenberg; 419)
             The facade of the Museum is a monumental, utilitarian procession of columns opening to a panoramic view of the Royal Palace across the way. "Halfway along the museum's (internal) axial sequence of spaces he (Schinkel) did something no French architect would have done, providing a Picturesque view from a balconylike landing out through the facade screens to the square, a view integrated wit...