Architect Daniel H. Burnham, assisted by Pierce Anderson, was inspired by a number of architectural styles.
Classical elements included the Arch of Constantine (exterior, main façade) and the great vaulted spaces of the Baths of Diocletian (interior); prominent siting at the intersection of two of Pierre (Peter) Charles L'Enfant's avenues, with an orientation that faced the United States Capitol just five blocks away; a massive scale, including a façade stretching more than 600 feet (180 m) and a waiting room ceiling 96 feet (29 m) above the floor; stone inscriptions and allegorical sculpture in the Beaux-Arts style; expensive materials such as marble, gold leaf, and white granite from a previously unused quarry.

In the Attic block, above the main cornice of the central block, stand six colossal statues (modeled on the Dacian prisoners of the Arch of Constantine) created by Louis St. Gaudens.
These are entitled "The Progress of Railroading" and their iconography expresses the confident enthusiasm of the American Renaissance movement:
Prometheus (for Fire)
Thales (for Electricity)
Themis (for Freedom and Justice)
Apollo (for Imagination and Inspiration)
Ceres (for Agriculture)
Archimedes (for Mechanics)
The substitution of Agriculture for Commerce in a railroad station iconography vividly conveys the power of a specifically American lobbying bloc.

St. Gaudens also created the 26 centurions for the station's main hall.

Burnham drew upon a tradition, launched with the 1837 Euston railway station in London, of treating the entrance to a major terminal as a triumphal arch.
He linked the monumental end pavilions with long arcades enclosing loggias in a long series of bays that were vaulted with the lightweight fireproof Guastavino tiles favored by American Beaux-Arts architects.
The final aspect owed much to the Court of Heroes at the World's Columbian Exposition of 1893 in Chicago, where Burnham had been coordinating architect.
 The setting of Union Station's façade at the focus of converging avenues in a park-like green setting is one of the few executed achievements of the City Beautiful movement: elite city planning that was based on the "goosefoot" (patte d'oie) of formal garden plans made by Baroque designers such as André Le Nôtre.

The station held a full range of dining rooms and other services, including barber shops and a mortuary.
 Union Station was equipped with a presidential suite which is now occupied by a restaurant.
Architect Daniel H. Burnham, assisted by Pierce Anderson, was inspired by a number of architectural styles. Classical elements included the Arch of Constantine (exterior, main façade) and the great vaulted spaces of the Baths of Diocletian (interior); prominent siting at the intersection of two of Pierre (Peter) Charles L'Enfant's avenues, with an orientation that faced the United States Capitol just five blocks away; a massive scale, including a façade stretching more than 600 feet (180 m) and a waiting room ceiling 96 feet (29 m) above the floor; stone inscriptions and allegorical sculpture in the Beaux-Arts style; expensive materials such as marble, gold leaf, and white granite from a previously unused quarry.
In the Attic block, above the main cornice of the central block, stand six colossal statues (modeled on the Dacian prisoners of the Arch of Constantine) created by Louis St. Gaudens. These are entitled "The Progress of Railroading" and their iconography expresses the confident enthusiasm of the American Renaissance movement:
Prometheus (for Fire)
Thales (for Electricity)
Themis (for Freedom and Justice)
Apollo (for Imagination and Inspiration)
Ceres (for Agriculture)
Archimedes (for Mechanics)
The substitution of Agriculture for Commerce in a railroad station iconography vividly conveys the power of a specifically American lobbying bloc.
St. Gaudens also created the 26 centurions for the station's main hall.
Burnham drew upon a tradition, launched with the 1837 Euston railway station in London, of treating the entrance to a major terminal as a triumphal arch. He linked the monumental end pavilions with long arcades enclosing loggias in a long series of bays that were vaulted with the lightweight fireproof Guastavino tiles favored by American Beaux-Arts architects. The final aspect owed much to the Court of Heroes at the World's Columbian Exposition of 1893 in Chicago, where Burnham had been coordinating architect.  The setting of Union Station's façade at the focus of converging avenues in a park-like green setting is one of the few executed achievements of the City Beautiful movement: elite city planning that was based on the "goosefoot" (patte d'oie) of formal garden plans made by Baroque designers such as André Le Nôtre.
The station held a full range of dining rooms and other services, including barber shops and a mortuary.  Union Station was equipped with a presidential suite which is now occupied by a restaurant.
Washington Union Station