Gothic Revival Architecture

An overview of the Gothic Revival that began England in the mid-eighteenth century and which sought to revive medieval Gothic architecture in contrast to the neoclassical styles prevalent during the Augustan period. This article covers the movement in Europe and American, and was first published in the Routledge Encyclopedia of the Romantic Era, edited by Chris Murray (2003):

During the Renaissance, ‘Gothic’ became a pejorative label for all things barbarous. In a model of history probably first posited by Petrach and developed and disseminated by Italian Renaissance Humanists, it was believed that there were two epochs of cultural excellence, the Classical and their own. These were separated by a terrible period of ignorance and barbarism, the Dark and Middle Ages. The Germanic invaders, the Goths, were held to be largely responsible for this culturally catastrophic interregnum. François Rabelais employed the term ‘Gothic’ to describe a vulgar literary style, not reflecting Greek and Latin scholarship, and the most influential condemnation of all things Gothic can be found in Giorgio Vasari’s Lives of the Architects, Painters and Sculptures (1550), in which medieval architecture is simply designated ‘German’ and rejected as mean, disorderly, over-decorative and poorly constructed, the antithesis of the now universally accepted Classical style. By the early-seventeenth century, the use of the term ‘German’ was discarded in this context (Germany having long since embraced the Classical ideal), scholars instead employing the adjective ‘Gothic’ in their polemics.

It was the British, always out of step with their European neighbours, that laid the foundations of a cultural re-evaluation which would later spread to the continent. Parliamentarians, quoting Tacitus, argued that representative government was in fact not a product of Classical antiquity, but of the German tribes; the ‘Gothic polity’ therefore represented free institutions and was opposed to tyranny and privilege. In art, the true Gothic revival began in England with a gradual shift in the crucial, Classicist-dominated, concept of Nature, as writers (influenced by the new vogue for landscape gardening), began to champion irregularity and variety as ‘natural,’ an idea eventually coming under the banner of the ‘picturesque.’ The related aesthetic concept of the (non-Classical) Sublime in opposition to the (Classically) Beautiful suggested that Nature in its highest (Sublime) form was free of the constraints of the Classical. This trend towards aesthetic relativism in England resulted in the pre-Romantic ‘Gothic mood’ which is most famously characterized by the fiction of Horace Walpole, most notable The Castle of Otranto (1764), and the ornamental papier-mâché decoration of Strawberry Hill, his country seat in Twickenham. This style went on to dominate nineteenth century Victorian architecture through the work of such influential figures as the prolific Sir George Gilbert Scott, his pupil George Edmund Street, the High-Churchman William Butterfield, Charles Barry, and the obsessive genius Augustus Welby Northmore Pugin. Among many fine examples, the most familiar is probably Barry’s re-designed Palace of Westminster (which had been destroyed by fire in 1834), which was specifically inspired by the Perpendicular Gothic style, Pugin assisting...

True principles vol 3 no 5 none of his houses have survived. In retrospect it seem astonishing that so much time and so much effort, not to mention so much skill and personal commitment, were spent on buildings that have vanished into thin air, and are commemorated only in photographsa fate which our 'architecture minister', Margaret Hodge, believes is a adequate for historic buildings.

AWá* ;:*,e;g;1 1. Jusepe Leonardo (atribuido): El palacio del Buen Retiro en 1636-1637, detalle. A la derecha, el monasterio de San Jerónimo el Real LA RESTAURACIOI{ DE SA¡/ JEROIVIMO E,L REAL POR IVARCISO PASC(IAL Y COLOMER PoT NIEVES PANADERO PEROPADRE El monasterio de San Jerónimo el Real. construido durante el reinado de los Reyes Católicos, quedó convertido durante el siglo XVII en uno de los elementos integrantes del conjunto palaciego del Buen Retiro paia, tras el declive de éste y la reforma acometida por Cárlos III en el

The Concept of Gesamtkunstwerk in Architecture and Architect A. W. N. Pugin (in Russian).

The concept of Gesamtkunstwerk or total work of art formulated by Richard Wagner is rarely applied to architecture, apart from 20th-century Avant-garde movements. Nevertheless, in Hans Sedlmayr’s 'Loss of the Middle' the entire history of European art since the Middle Ages is treated as a succession of total works of art based on certain building types (church, palace, etc.).
It is worth noticing that Sedlmayr speaks of architecture as of active force, capable of organizing all the settings required by the culture of the corresponding period, while for Wagner it is a mere shelter for the universal drama. Some texts written by the Gothic revival architect A. W. N. Pugin bear a striking resemblance to Sedlmayr’s concept. Pugin’s activity as an architect and writer is usually treated as one of the central events of 19th-century historicism. Strangely enough, his worldview, as reconstructed through his writings, is obviously ahistorical. Pugin advocates Gothic as an ideal type of architecture, in which function is inseparable from the cluster of symbolic (i. e. Christian) meanings.

A diferència de la majoria de les aportacions dels meus col•legues en aquest volum, que versen bé sobre els temps medievals, bé sobre els moderns, el meu interès per la Casa de la Ciutat barcelonina no exclou cap dels dos pols, ja que tots dos-gòtic i neogòtic-són presents i pesants en la configuració de l'edifici. Més que l'estudi aprofundit d'un o altre episodi artístic, el meu interès radica, sobretot, a assenyalar la manera com els dos estils interactuen, es combinen i se superposen de manera imbricada, en el que per nosaltres és ja un únic conjunt. Perquè el primer que cal remarcar és que la Casa de la Ciutat no és pas una construcció homogènia, ni formalment ni històricament. La Casa de la Ciutat que avui podem recórrer i estudiar és una suma de fragments en transformació; una unitat plural que sempre s'està construint i, fins i tot, deconstruint, de vegades merament destruint. L'edifici és alhora motor i víctima d'un dinamisme i una vitalitat que, jugant a fer metàfores, el converteix en una viva imatge de la ciutat mateixa que encapçala i presideix. La seva evolució al llarg dels segles ha comportat transformacions, modificacions i també ampliacions. Si comparem el conjunt actual amb el que es va anar bastint des dels seus orígens medievals fins a començament del segle XX, veurem que se n'ha ampliat considerablement la superfície amb l'addició d'amplis sectors moderns. D'una banda, per contrast amb l'edifici vell, es coneix de manera més o menys consensuada com l'edifici nou aquell que prolonga el cos antic carrer de la Ciutat avall, més enllà del carrer de la Font, per damunt del qual un pont uneix els dos cossos. De l'altra, l'edifici novíssim, que correspon a l'alta torre moderna de la plaça de Sant Miquel, de la qual darrerament s'han escapçat 273 Barcelona Quaderns d'Història, 8 (2003) * Universitat de Barcelona. els últims pisos. 1 Cal, doncs, tenir present que la Casa de la Ciutat de què primer tractarem, la del temps del gòtic, completada en estil neogòtic, era un edifici força més petit que l'actual Ajuntament barceloní. 2 Més petit, més antic i, potser, més interessant en molts sentits. Els orígens Els diferents noms que ara he usat per referir-me a l'edifici són ja significatius per ells mateixos. El nom tradicional de Casa de la Ciutat-o, vulgarment, Ca la Ciutat-respon a una visió particular de què era i què significava l'edifici des dels seus orígens, com a casa, com a seu dels representants de la comunitat, del govern municipal i els seus òrgans. Però la Casa no és tan antiga com la institució, no perquè haguem perdut els vestigis materials de les seus primitives, sinó perquè en el moment inicial no tenia seu pròpia. No ens ocuparem ara de l'evolució del règim municipal barceloní, però sí que n'hem de recordar l'origen en el privilegi atorgat el 1249 per Jaume I per a que els representants de la ciutat, consellers o paers, deixessin de ser designats pel rei i esdevinguessin electes. A través de successives modificacions del privilegi fetes el 1258, el 1265 i el 1275 s'arribà a l'organització que va perdurar durant segles, recolzada sobre un govern de cinc consellers i un consell plenari de cent prohoms, el famós Consell de Cent. 3 Als primers temps, aquests òrgans i les diverses necessitats i funcions dels ens i serveis municipals no comptaven amb casa pròpia. Tal com va assenyalar Duran i 274 Pere Beseran i Ramon 1. Tot i que encara no compta amb l'extensa, documentada i minuciosa monografia (o monografies) que mereix i que l'Ajuntament li deu, la bibliografia que podem citar sobre la Casa de la Ciutat és abundant, per bé que desigual. Són fonamentals el treball ingent de Francesch CARRERAS Y CANDI, La ciutat de Barcelona, Barcelona, s. d. [1916], pàg. 425-430, així com les síntesis essencials d'Agustí Duran i Sanpere, des del remot A

Neo-Gothic emerged in Croatian architecture rather late in comparison to Great Britain and the majority of countries in mainland Europe. Crucial in spreading the use of the style were the influences from the areas of present-day Germany, Austria, the Czech lands and Hungary.
The history of Croatian Neo-Gothic can be divided into three phases. The first, Romantic, phase lasted from the beginning of the 1800s to the end of the 1860s and was marked by naïve approach to the Gothic style. The second phase of the so-called High Neo-Gothic, in the 1870s and 1880s, showed a considerably greater tendency for achieving stylistic purity and drawing on High Gothic buildings.
Since the early 1890s Neo-Gothic entered its third phase characterized by frequent imitations of Late Gothic, propensity for extravagance and occasional combination with other styles, mostly the Viennese Secession.
Neo-Gothic was significant primarily for the Catholic Church which used it to distinguish its buildings from Orthodox Neo-Byzantine churches or synagogues built mostly in the Neo-Moorish style. Since Catholicism was an important part of Croatian national identity there were endeavours, though unsuccessful ones, to make (Neo-)Gothic the basis for a particular national architectural style.
Croatian architecture of the second half of the 19th century can enrich the historical context of Neo-Gothic on the European mainland with several accomplishments.
Especially interesting are Herman Bollé’s restoration of the Greek
Catholic Cathedral in Križevci in the mixed Neo-Gothic and Neo-Byzantine style and the restoration of the Zagreb Cathedral which was a radical attempt in establishing its assumed original Gothic state by removing almost all Baroque architectural elements and furniture.
Most important architects of Gothic Revival in Croatia were Viennese architect Friedrich von Schmidt and his students, Croatian architects Herman Bollé and Josip Vancaš.

Английский  архитектор  неоготического  направления  Огастес Уэлби Пьюджин (1812–1852), известный в первую очередь как соавтор  Зданий  парламента  в  Лондоне,  был  также  автором  ряда  публицистических сочинений, в которых отстаивал свой оригинальный взгляд  на  цели  и  задачи  архитектуры. Настоящая  статья  посвящена  анализу самого известного сочинения Пьюджина — пропагандирующего возрождение готики трактата «Противопоставления» (“Contrasts”, 1836, 1841). Современники Пьюджина говорили о его революционной роли в развитии неоготической архитектуры. Исследователи же XX — начала XXI века склонны рассуждать о его вкладе в урбанистику и теорию градостроительства. Как  нам  представляется,  эти  оценки  базируются  на  изолированном  рассмотрении  двух  компонентов  трактата  «Противопоставления»  —  текста и набора иллюстраций. Текст  «Противопоставлений»  посвящен  не  столько  архитектуре  как  таковой,  сколько  критике  английской  реформации,  единолично  (как  представлялось Пьюджину) осуществленной Генрихом VIII и разрушившей гармоничное общество Средних веков, наиболее совершенным проявлением которого  были  монастыри.  Будучи  католиком-неофитом,  Пьюджин  безудержно  идеализировал  христианский  и  органический  характер  средневекового общества, однако в монастырской жизни он был склонен видеть своего рода Gesamtkunstwerk, устроенный по законам христианского (т. е.  готического)  искусства.  Иллюстрации  же,  приложенные  к  книге  в виде отдельного альбома, обнаруживают глубокое понимание ценности городской среды, и поэтому они до сих пор воспроизводятся как пример прогрессивного градостроительного мышления. При всей справедливости подобной  оценки,  она  опирается  лишь  на  иллюстративный  материал,  являющийся второстепенным в структуре издания. Можно предположить, что  Пьюджин,  в  силу  некоей  непроработанности  мышления,  не  мог  проговорить мысли, бывшие для него самоочевидными и представляющие для нас намного большую ценность, чем все его ламентации по поводу вандализма протестантов.

Study deals with attempt to build a seat of Moravian Diet in Brno, Moravia. The project of August Prokop (and also of Josef Blitzfeld and Joseph Hudetz )were appreciated in first competition (1868), and in the second (1874) the joint project of Robert Raschka and Anton Hefft  which was realized. Study zooms not only to circumstances that came before building process, but focus also on the key role of teachers of both main architects, which was Friedrich Schmidt for Prokop and Gottfried Semper for Raschka.

Studie se zabývá snahou o výstavbu moravské sněmovny v Brně, kdy v první soutěži byly roku 1868 oceněny plány Augusta Prokopa (a také Josefa Blitzfelda a Josepha Hudetze), a ve druhé z roku 1874 společný projekt Roberta Raschky a Antona Heffta, který se pak dočkal realizace. Tato studie neřeší jen okolnosti předcházející výstavbě, ale zamýšlí se nad vzorovou rolí učitelů u dvou hlavních architektů - u Prokopa to byl Friedrich Schmidt, u Raschky Gottfried Semper.

The Collegiate Gothic movement in America that emerged from the early 1890’s marked the last phase of the inclusive Gothic Revival movement in the country and became a part of the movement for college planning known as “College Beautiful”. The extensive development of colleges was made necessary and possible by the combination of demand and wealth created by the Gilded Age, as well as by architectural strategies introduced through the Chicago Columbian Exposition of 1893. The Collegiate Gothic brigade, while searching for its main reference points in the English collegiate tradition of Tudor Gothic as opposed to Victorian Gothic, ended up mingling the Oxford-Cambridge building system of quadrilateral plan with the Beaux-Arts system of extensive landscape planning with axis and symmetry, within the American setting of broad college campuses. (under review for Transactions of AIJ. Journal of Architecture, Planning and Environmental Engineering)

Vladislav Degtyarev. Architect Augustus Welby Northmore Pugin and the Category of Historicism (in Russian).

Turning to the past in order to solve
the problems of the present is a very fruitful, though not
the only strategy for the development of cultural identity.
The activity of the English architect Augustus Welby Northmore Pugin is interpreted in literature as one of the key phenomena of historicism in the 19th century. However, the picture of the world, revealed in the writings of the architect, is decidedly non-historical. A.W.N. Pugin, whose activities unfolded in the 1st half of the 19th century, could have chosen between three strategies of using the past — classicism, historicism and antiquarian tradition (passeism). Classicism is actively changing the world in the name of ideal outside of the historical context. Historicism
deals with cultures of the past, but does not pretend to total transformation of the world on the model of any of them. Among many models, he is looking for one, which is not ideal, but complimentary to his mood or to the mood of the moment. Antiquarian tradition deals with some previous state of its culture and seeks (in some cases) to restore it. The figure of A.W.N. Pugin is important in that context as an example of serious and straight connection to the historical prototypes, combined with the aesthetic criticism of the contemporary society. Due to the peculiarities of his upbringing and way of life, A. W. N. Pugin took the architecture of the 1st half of the 19th century from the sidelines as the outcast or underdog. Nevertheless, he managed to have a significant impact on it, and the article attempts to show that this influence was a natural consequence of his views. World vision of A. W. N. Pugin and his writings (especially in “Contrasts”) are entirely anachronistic to his time, since they extend antiquarian traditions of the 16th and 17th centuries. It is paradoxical, but it is this anachronism allowed him to become a reformer of architecture: not recognizing the significance of the changed social conditions, he tried to return architecture to a kind of ideal condition, assuming that was the Gothic.

Keywords: Pugin, historicism, architecture, history, concepts of the past.

Batty Langley (1696–1751) is one of the most familiar and generally infamous figures of Britain’s eighteenth-century Gothic Revival. Following his father, Langley trained as a gardener and was one of the early promoters of the irregular style that prefigured William Hogarth’s ‘line of beauty’.  Langley’s interest, however, turned to architecture and he produced numerous architectural treatises and pattern-books, the majority of which were concerned with Classical architecture. This was a sensible decision, as Eileen Harris and Nicholas Savage observe: ‘Langley had much to gain by concentrating his publishing activities on architecture, for which there was a considerably larger, more diversified, and less discriminating market’.  The most well-known publication, however, is concerned with the Gothic: Ancient Architecture: Restored, and Improved by a Great Variety of Grand and Useful Designs, Entirely New in the Gothick Mode (1741–42).  Although it has been characterized as a ‘minor item in the list of publications by Batty Langley, slimmer in substance and less successful in its circulation than his typical works,’ Ancient Architecture provided a lasting legacy for eighteenth- and early nineteenth-century British architecture. It also promoted Langley as the chief representative of the mid-eighteenth century’s whimsical and non-archaeological Gothic style, a style which has been disparagingly referred to as Gothick, Rococo-Gothic, Rococo-Gothick, or Batty Langley Gothick.

Pioneering insights into Langley’s Gothic have been offered by Alistair Rowan (1975), Eileen Harris (1977) and Roger White (1984), and recent contextual studies by Michael McCarthy (1987), Chris Brooks (1999), and Timothy Mowl and Brian Earnshaw (2007) have not dramatically reshaped the popular understanding of his approach.  This article reopens the debate surrounding Langley’s Gothic by identifying the effect of mid-eighteenth-century Britain’s intellectual and aesthetic climate upon Ancient Architecture, and teasing out Langley’s serious intentions concerning the work. It also presents and analyses newly discovered manuscript correspondence between Langley and John Perceval, Viscount Perceval (1711–70), from 1748 the second Earl of Egmont, which details Langley’s plan for a hitherto unknown and unpublished orthographic survey of Britain’s medieval architecture.

Župna crkva u Granešini pripada skupini najoštećenijih građevinama u potresu od 22. 3. 2020. Ovaj članak, objavljen 2011., s priloženim ilustracijama, nastoji podsjetiti o kojem se važnom spomeniku neogotike u Hrvatskoj radi.
The parish church in Granešina belongs to the group of the most damaged buildings in the earthquake that hit Zagreb on 22 March 2020. This article, published in 2011, with the accompanying illustrations, seeks to remind us of this important Neo-Gothic monument in Croatia.

Slijedi sažetak teksta:
Župna crkva Rođenja Blažene Djevice Marije u Granešini, mjestu sjeveroistočno od Zagreba (danas u granicama grada), na obroncima Medvednice, jedan je od najvažnijih spomenika sakralne arhitekture historicizma središnje Hrvatske. Zahvaljujući patronatstvu zagrebačkog Stolnog kaptola nad župom projektiranje nove građevine, na mjestu starije srednjovjekovne barokizirane crkve stradale u potresu 1880. godine, povjereno je arhitektu Hermanu Bolléu koji je, usprkos ograničenim sredstvima koje je imao na raspolaganju realizirao u Granešini jednu od svojih najranijih i najkvalitetnijih novosagrađenih sakralnih građevina.
Crkva je podignuta 1885. – 1886. kao trobrodna jednotoranjska neogotička bazilika s transeptom i poligonalnim svetištem. Oblikovno rješenje Bollé je izveo pod snažnim utjecajem crkve svete Brigitte u Brigittenauu, predgrađu Beča, podignute prema projektima Friedricha Schmidta 1867-1874. godine.
Tijekom 1887. opremljena je novim oltarima, propovjedaonicom, orguljama, klupama i ispovjedaonicama, izvedenima po Bolléovim projektima od strane uglednih zagrebačkih obrtnika (Slavoljuba Wagmeistera, Friedricha Häckera, Antuna Mesića i drugih). Od značajnijih dijelova opreme stare crkve zadržana je u novoj građevini samo kasnogotička skulptura Bogorodice s Kristom u naručju, izrađena vjerojatno u drugoj polovini 15. stoljeća.
Unutrašnjost je oslikana 1899. najvećim dijelom dekorativnim oslikom s nekoliko figurativnih polja. Izradu oslika započeo je Richard Rojnik, no, zbog sukoba sa župnikom, završio je samo svodove. Skupina slikara koje je nadzirao Ivan Tišov: Josip i Mijo Butković, Ivan Zenc, Antun Špende i Neihäusler izveli su ostatak dekorativnog oslika zidova brodova i svetišta crkve, a Lovro Sirnik figurativne kompozicije. Bogata polikromija oslika i variranje motiva daju postavljaju dekorativno slikarstvo granešinske crkve na istaknuto mjesto u umjetnosti historicizma u Hrvatskoj.

A Companion to Medieval Art: Romanesque and Gothic in Northern Europe, Blackwell Companions in Art History, 2nd ed. (Wiley-Blackwell, Oxford, 2019) (a collection of thirty-nine original essays from leading and upcoming scholars in the field, each historiographically analyzing one of a systematic and editorially determined range of subjects in the development of Romanesque and Gothic art history; eleven new essays were added to the revised original thirty essays of the first edition; this includes my introductory essay, "A Sense of Loss: An Overview of the Historiography of Romanesque and Gothic Art").

1. Introduction
A Sense of Loss: An Overview of the Historiography of Romanesque and Gothic Art
Conrad Rudolph

2. Artifex and Opifex – The Medieval Artist
Beate Fricke

3. Vision
Cynthia Hahn

4. Materials, Materia, "Materiality"
Aden Kumler

5. Reception of Images by Medieval Viewers
Madeline H. Caviness

6. Narrative, Narratology, and Meaning
Suzanne Lewis

7. Formalism
Linda Seidel

8. Gender and Medieval Art
Brigitte Kurmann-Schwarz

9. Gregory the Great and Image Theory in Northern Europe During the Twelfth and Thirteenth Centuries
Herbert L. Kessler

10. Iconography
Shirin Fozi

11. Art and Exegesis
Christopher G. Hughes

12. Whodunit? Patronage, the Canon, and the Problematics of Agency in Romanesque and Gothic Art
Jill Caskey

13. Collecting (and Display)
Pierre Alain Mariaux

14. The Concept of Spolia
Dale Kinney

15. The Monstrous
Thomas E. A. Dale

16. Making Sense of Marginalized Images in Manuscripts and Religious Architecture
Laura Kendrick

17. Definitions and Explanations of the Romanesque Style in Architecture from the 1960s to the Present Day
Eric Fernie

18. Romanesque Sculpture in Northern Europe
Colum Hourihane

19. Modern Origins of Romanesque Sculpture
Robert A. Maxwell

20. The Historiography of Romanesque Manuscript Illumination
Adam Cohen

21. The Study of Gothic Architecture
Stephen Murray

22. France, Germany, and the Historiography of Gothic Sculpture
Jacqueline Jung

23. Gothic Manuscript Illustration: The Case of France
Anne D. Hedeman

24. “Specially English”: Gothic Illumination c.1190 to the Early Fourteenth Century
Kathryn A. Smith

25. From Institutional to Private and from Latin to the Vernacular: German Manuscript Illumination in the Thirteenth Century
Michael Curschmann

26. Glazing Medieval Buildings
Elizabeth Pastan

27. Toward a Historiography of the Sumptuous Arts
Brigitte Buettner

28. Reliquaries
Cynthia Hahn

29. East Meets West: The Art and Architecture of the Crusader States
Jaroslav Folda

30. Gothic in the Latin East
Michalis Olympios

31. Art and Liturgy in the Middle Ages
Eric Palazzo

32. Architectural Layout: Design, Structure, and Construction in Northern Europe
Marie-Thérèse Zenner

33. Sculptural Programs
Bruno Boerner

34. The Art and Architecture of Female Monasticism
Jeffrey F. Hamburger

35. Cistercian Architecture
Peter Fergusson

36. Art and Pilgrimage: Mapping the Way
Paula Gerson

37. "The Scattered Limbs of the Giant": Recollecting Medieval Architectural Revivals
Tina Waldeier Bizzarro

38. Medieval Art Collections
Janet Marquardt

39. The Modern Medieval Museum
Michelle P. Brown

Iako je utjecaj Ise Kršnjavoga na arhitekturu historicizma u Hrvatskoj podrobno istražen kroz knjige i članke Olge Maruševski, pojedini segmenti njegova upliva tek su fragmentarno analizirani. Pokazalo se, naime, detaljnim pregledom zagrebačkog dnevnog tiska s kraja 19. stoljeća, da je Kršnjavi objavio daleko veći broj tekstova nego što je ranije bilo poznato. U ovome se članku pozornost usredotočuje samo na vrijeme kada je na polju pisane riječi bio najaktivniji – kraj 1870-ih i početak 1880-ih godina. Nastoji se na prvome mjestu pokazati na koji je način utjecao na pojavu visokog historicizma u hrvatskoj, ponajprije dakako zagrebačkoj arhitekturi, zatim kojim se sredstvima služio pri pokušaju unošenja promjena u hrvatskoj arhitekturi te naposljetku koje je stilove preferirao. U vrijeme kada se Kršnjavi nalazi na školovanju u Beču i Münchenu, te na studijskim putovanjima po Njemačkoj i Italiji, krajem 1860-ih te u prvoj polovini i sredinom 1870-ih godina demografski, gospodarski pa i kulturni uzlet Zagreba tek je započinjao. Gradilo se dosta, međutim, neusporedivo manje u odnosu na situaciju s kraja 19. stoljeća. Po uzoru primarno na Beč, koji je za Kršnjavoga najvažnija prijestolnica arhitekture 19. stoljeća, koja kvalitetom daleko nadmašuje dva druga, po njemu, ključna umjetnička središta toga doba, Pariz i München, on pokušava unijeti suvremene tendencije i višu kvalitetu u zagrebačku arhitekturu. Nekoliko je osnovnih načina kojima je pokušao pokrenuti reformu, „obnovu“ hrvatske arhitekture i umjetnosti uopće: osobnim vezama te utjecanjem na organe vlasti i crkvene institucije, neposrednim uplivom na arhitekte (ponajprije Hermana Bolléa), osnivanjem institucija, te naposljetku tekstovima u novinama i časopisima. Eugene Emmanuel Viollet-le-Duc, Rudolf Eitelberger von Edelberg, Georg Gottlob Ungewitter, August Reichensperger, Augustus Welby Northmore Pugin, Karl von Lützow, samo su neki od istaknutih povjesničara i teoretičara arhitekture te arhitekata čija je djela, kako je jasno iz korespondencije, članaka i knjiga, Kršnjavi izuzetno dobro poznavao. Niti jedan autor, međutim, nije na njega imao takav utjecaj kao nesumnjivo najvažniji teoretičar arhitekture druge polovine 19. stoljeća, Gottfried Semper, osobito njegovo djelo Der Styl in den technischen und tektonischen Künsten oder Praktische Ästhetik. Od Sempera preuzima teoriju o porijeklu arhitektonskih oblika u tekstilnoj umjetnosti, nazore da svi ornamenti moraju na građevini biti povezani s konstrukcijom, naklonost prema intenzivnoj polikromiji, itd. Poput Sempera, odbacivao je miješanje elemenata raznih stilova na jednoj građevini karakteristično za arhitekturu ranog historicizma - romantizma, kao i neuspjele pokušaje stvaranja posve novoga stila. Smatrao je da arhitektura treba biti utemeljena na tradiciji, no da se treba oslanjati samo na najbolje realizacije stilova iz prošlosti. Od stilova na prvome je mjestu preferirao gotiku, slijede potom renesansa (u svojim raznim, nacionalnim varijantama), bizantski te takozvani hrvatski narodni stil. Svoje će arhitektonske nazore u Hrvatskoj realizirati ponajprije preko arhitekta Hermana Bolléa, kojega je smatrao jedinim kvalitetnim zagrebačkim arhitektom i kojemu je osigurao realizaciju cijeloga niza važnih javnih i sakralnih građevina.

Developed across Europe in the middle and late nineteenth century, and characterized by the use of medieval architectural forms, Gothic Revival, also known as Neo-Gothic, was an architectural reaction to the Classic Revival that had taken hold over the sixteenth, seventeenth and eighteenth centuries. Britain promptly took the lead in the spread of this style, making it “perhaps one of the most purely English movements in the plastic arts.”  It was used almost exclusively for ecclesiastical purposes since it was often the style chosen for rural churches in England.  In the 1850s, the Early Gothic Revival style developed into the High Victorian Gothic Revival. This style aimed to be monumental and more authentic by examining in more depth medieval architectural features.
In this paper I intend to examine the implications of the British Empire’s ostensible dominance over its colonized nations, manifested through institutional buildings such as churches, built in a new architectural style considered proper to the English Western culture: the Gothic Revival. How is a Gothic Revival church building an index of its cultural identity and history in a British imperial colonial context? To answer this question, three Gothic Revival churches situated in former British colonies will be studied and discussed in order to demonstrate how their particular architecture reflected both English and colonial cultures as well as their implications in a cross-cultural colonial context. The following churches will be examined: Christ Church (1844-1857), an Anglican church in Shimla, India; St. Mary’s Roman Catholic Church (1868- 1900) in Sydney, Australia; and Notre-Dame-de-Montréal (1824-1829), the Roman Catholic Basilica of Montreal, Canada.

What are the architectural forms that shape and contain monastic life? Drawing on historical sources, as well as the experience of a year’s ethnographic fieldwork in a Catholic English Benedictine monastery, this article explores the aesthetic and social qualities of monastic architecture, focussing on the case study of a particular place: Downside Abbey, in Somerset, England. I focus on particular features and details of the monastery buildings in order to illustrate the significance of stability to the social life of the monk. Benedictine monks vow ‘stability’ to their monastery of profession – they promise to commit their lives to a particular place, and in doing so they incorporate their own life cycle within a particular set of buildings. Having explored the monastery buildings historically and ethnographically, I intend to use this idea of an ‘architecture of stability’ as a way of asking questions about life beyond the cloister walls. Given the apparent prevalence of ‘non-places’, as described by Augé (1995), how might the Benedictine emphasis on the importance of place help us to think critically about the proliferation of an architecture that reflects rapid movement, decreased social interaction, and detachment from history and identity?

This Master's Thesis focuses on the relations — correspondences, analogies, mirror-images — that can be found between ekphrases of Gothic architecture in eighteenth-century Gothic novels (Horace Walpole, Ann Radcliffe and Walter Scott) and the architecture of the Gothic Revival in England.

گوتیک، شاخه ای از هنر در قرون وسطی است که هنرمندان ایتالیایی دوران پس از آن، یعنی رنسانس، به دلیل مخالفت اساسی و بسیار با این سبک و نا متوازن و بی اصالت دانستن آن، این هنر را منسوب به قوم بربر ها و گوت ها می دانستند و به همین سبب به جهت تمسخر و تحقیر، آن را گوتیک خطاب می کردند. چرا که این نوع از تناسبات و شیوه ی طراحی و ساخت در نظرشان فقط می توانست حاصل تفکرات گوت ها باشد، اما با بررسی داده ها و مشهودات، این هنر نه از لحاظ بصری و نه از لحاظ تاریخی نمی تواند متعلق به این دوره باشد. آن چیز که بر همگان هویداست، این است که این سبک، از دل دوران و عصر ایمان زاده شده و دستاورد آن بوجود آوردن خدایی انسانی بود.خدایی که به انسان بسیار نزدیک می شد. تمامی جهات زندگی در این دوره برای خداوند و در جهت رسیدن به او تعریف می شد و به همین سبب بود که نوع معماری در این سبک به صورت عمودی و رو به باالا تعریف می شد و معماران در جهت مرتفع کردن هر چه بیشتر ساختمان ها می کوشیدند. این هنر در حدود قرن 12 پس از میلاد، ظهور و در حوالی قرن 15 پس از میلاد جای خود را به دوره ی رنسانس داد. البته این امر صحیح است که هنرمندان رنسانسی خصوصا در ایتالیا به شدت با گوتیک مخالفت کردند اما باید دانست که هنر گوتیک دستاورد هایی داشت که رنسانس بسیار وام دار آن هاست. یکی از فاخر ترین نمونه های سبک گوتیک، کلیسای جامع نوتردام است که به زیبایی هرچه تمام تر تحوالت سبک گوتیک را نشان داده است. این کلیسا به سبب این که بارها مورد بازسازی قرار گرفته است، هم سبک گوتیک آغازین فرانسوی را داراست هم نیم نگاهی به گوتیک پیشرفته دارد. در این متن علاوه بر بررسی تحولات معماری گوتیک، به بررسی کلیسای جامع نوتردام، تحت عنوان یکی از فاخر ترین میراث های گوتیک پرداخته می شود.

کلمات کلیدی:
هنر، گوتیک، کلیسا، نوتردام ، نور، قرون وسطی

Il volume raccoglie una serie di saggi relativi alle architetture del bacino mediterraneo, rientranti in quattro aree tematiche tra loro strettamente interconnesse relative alla stereotomia, agli scambi e trasferimenti tecnologici, alle tecniche antisismiche e, infine, alla storiografia. Lo studio della tradizione costruttiva in pietra, della quale sono esaminati esempi significativi e indagate le connessioni, le influenze, le modalità di circolazione di idee è volta anche alla ricerca delle modalità di trasmissione di saperi costruttivi e di innovazioni tecnologiche nell'ambito dei cantieri. I temi legati all'utilizzo di tecniche specificamente antisismiche sono approfonditi in relazione ad alcuni significativi eventi tellurici. In questo ampio contesto è anche indagato il nascere e il mutare degli interessi della storiografia sul tema della stereotomia e più in generale delle tecniche costruttive.

Il testo, frutto dell’intervento tenuto su invito al British Museum nel 2016, passa in rassegna le principali architetture neogotiche della prima metà del XIX a Palermo proponendo una lettura originale in ragione delle questioni storico-politiche-istituzionali che a quell’epoca attraversavano la Sicilia e la corona dei Borbone, all’interno del gusto internazionale e dell’interesse mostrato dai viaggiatori del Grand Tour.
Prendendo le mosse dai “restauri” della Cattedrale di Palermo e dal progetto per il rivestimento in stile della cupola appena edificata, tra i primi esemplari neomedievalisti in Italia, si propone una lettura “politica” di tali manifestazioni che vedono da un lato la committenza dei Borbone, bisognosi di immagini che consolidassero la legittimità del proprio dominio sul Regnum Siciliae, dall’altro l’aristocrazia locale che guardava, all’opposto, al felice regno normanno-federiciano-aragonese, in continuità, come epoca di emancipazione dall’oppressione napoletana. Il risultato è una produzione di grande interesse cronologicamente al passo con gli esempi analoghi continentali.

A diferència de la majoria de les aportacions dels meus col·legues en aquest volum, que versen bé sobre els temps medievals, bé sobre els moderns, el meu interès per la Casa de la Ciutat barcelonina no exclou cap dels dos pols, ja que tots dos -gòtic i neogòtic-són presents i pesants en la configuració de l'edifici. Més que l'estudi aprofundit d'un o altre episodi artístic, el meu interès radica, sobretot, a assenyalar la manera com els dos estils interactuen, es combinen i se superposen de manera imbricada, en el que per nosaltres és ja un únic conjunt.

Introducing the strictly cellular regime after being appointed General Inspector of Prisons in Belgium in 1830, Edouard Ducpétiaux soon initiated an extensive building campaign of cellular prisons. Until his death in 1859, Joseph-Jonas Dumont was Belgium’s preeminent prison architect. Inspired by Anglo-Saxon trends, he adopted the Tudor revival style for the prison gatehouse in most of his designs. This idiom proved to be particularly suitable for effectuating the nineteenth-century concept of ‘style’ as a medium of meaning(s). Not only the formal and functional resemblance with Tudor gatehouses and city gates, but also the military features and general heaviness of the decorum evoked the appropriate connotations of custody, authority and dimness to act as a (physical but especially psychological) deterrent for the potential criminal, while at the same time demonstrating the architect’s artistic creativity.

Filozofski fakultet u Zagrebu, Odsjek za povijest umjetnosti Herman Bollé i obnova građevina zagrebačkog Stolnog kaptola nakon potresa 1880. godine Izvorni znanstveni rad -Original scientific paper Predan 15. 9. 2010. -Prihvaćen 20. 10. 2010. UDK: 726.025(497.5 Zagreb)"18" 72 Bollé, H. Sažetak U članku je riječ o radu Hermana Bolléa na obnovi ili ponovnoj izgradnji građevina stradalih u potresu od 9. studenoga 1880. kojima je vlasnik ili patron bio zagrebački Stolni kaptol: kurija na zagrebačkom Kaptolu i u Novoj vesi, crkve svete Marije na Dolcu, crkava u Šćitarjevu, Markuševcu, Resniku, Granešini i drugdje.

Pilley’s Island United (originally Methodist) Church was constructed in 1896 and opened in 1897 in Pilley's Island, Newfoundland, Canada. It is a wooden, vernacular Gothic Revival style church with steeple situated within a fenced churchyard. This report traces the architectural history of the building from the time of its construction to the conversion of the church into a museum, and is based on field research and interviews conducted by Dale Jarvis in Pilley’s Island, August 2017, and on subsequent archival research.

Architectural atlas of Zagreb contains overview of the history of Zagreb architecture and 900 entries on buildings from all parts of the city.
The buildings are grouped according to Zagreb’s neighborhoods: Upper Town, Kaptol, Lower Town - Centre, Lower Town - West, Lower Town - East, Savska street, Vukovarska street and Slavonska avenue, New Zagreb, etc. Each of these neighborhoods has been split into streets, and the buildings are organized according to their official street number. Along with each city area, a map showing the locations of all the marked buildings mentioned in the atlas is also attached.
The buildings in this atlas have been selected primarily according to their importance to the history of Zagreb’s architecture, while also bearing in mind their interest to the average visitor to Zagreb. The city center (Lower Town, Upper Town, and Kaptol) has been covered in most detail.

This article deals with the Neo-gothic architectural projects of Josip Vancaš in Croatia, Italy and Slovenia. Among the notable achievements of this segment of his entire production are: design for the church front in Buia, Italy, the chapel in Dragotin, and the parish churches in Krapina, Desinić, Oštarije, Bled, Prečna and Mirna Peč (partly restorations and partly new structures).

Companion piece to 'The Gothic Revival' on A.W.N. Pugin, in the Routledge Encyclopaedia of the Romantic Era, edited by Chris Murray (2003):

Augustus Welby Northmore Pugin (1812 – 1852) was an English architect and propagandist. Although the Gothic Revival began before Pugin, no single person did more than he in accelerating its influence, progress and ascendancy as the National Style of Victorian Britain. Pugin’s father, Augustus Charles (1769 – 1832), was a refugee from France who came to London in 1792, becoming a draughtsman for the architect John Nash, one of London’s great town-planners and a leading light in the Picturesque movement. Augustus Snr. married the beautiful but austere Presbyterian Catherine Welby, ‘the Belle of Islington,’ in 1802, and their only child was born on March 1, 1812. A delicate child, Pugin attended the ‘Bluecoat School’ (Christ’s Hospital, Newgate Street), as a day-boy, where he demonstrated an intellectual capacity that was matched only by his energy, one master remarking that ‘he would learn in twenty-four hours what it took other boys weeks to acquire,’ a resource that would soon allow him to pack a vast amount of work into a tragically short life. He also exhibited a natural talent for drawing, and he assisted his father in the books on Gothic architecture which he edited for Nash in the early-1820s, including Specimens of Gothic Architecture, The Edifices of London, Examples of Gothic Architecture, and Ornamental Timber Gables. Nash disliked the style, but was obliged to supply to demand. Before the age of twenty, Pugin was designing furniture for Windsor Castle, and for a while he was interested in theatrical set design, notably working on a production of Scott’s historical romance Kenilworth in 1831. He also had a passion for the sea (at one time even owning and commanding a merchant smack trading with Holland), and preferred to wear the casual dress of a sailor. After losing his first (of three) wives after only two years of marriage, he converted to Catholicism in 1834, perhaps due more to architectural than theological reasons, his other passion being ‘Christian’ (that is Roman Catholic) architecture, the opulent ‘Second Pointed’ style of the late-thirteenth and early-fourteenth-centuries...

Taking as its focus Downside Abbey, a Catholic English Benedictine monastery in Somerset, England, this paper explores what kind of home a monastery is. The call to monastic stability is expressed within the architecture of the Abbey in two ways: Firstly, by shaping the monk's movement throughout his daily routine and his life cycle, the monastery makes possible a radical commitment to place. Secondly, by expressing the continuity of monasticism in English history, the Abbey creates a sense of historical stability in place of rupture - a visible sign of the monastic family as an enduring unit. In this sense, the Abbey puts forward an English vision of Catholicism and monasticism running counter to claims that Catholicism was Roman and thus fundamentally foreign. The Abbey thus serves as a piece of counterfactual architecture: a building which asks provocative "what if" questions, inviting aesthetic and moral comparisons and showing a possibility of what might have been - and what could still be.

"In 1872 Charles Eastlake, the antiquarian Gothic revivalist, observed that

'Gothic architecture has had its vicissitudes in this country. There was a time when its principles were universally recognised; there was a time when they were neglected or forgotten. But in the days of its lowest degradation, it may be questioned whether it would not have been better that the cause should have remained unexposed than have been sustained by such a champion as Batty Langley'.

Batty Langley, garden designer and theorist, derived a system of Gothic architecture based on classical principles. This early phase of the Gothic Revival has been termed, variously, as Rococo-Gothic, Gothick, and (in this chapter) Modern Gothic. Kenneth Clark argues that ‘there seems [to be a]…good reason for believing that Rococo Gothic, if viewed historically rather than for its own sake, has a considerable place in the revival’.2 In the later twentieth century, however, Michael McCarthy reinvigorated Eastlake’s evaluation of the style by determining that it is a ‘nonsense category’.3 This chapter will show that the Modern Gothic style is anything but nonsense and, despite appearances, forms the backbone to the proto-antiquarian aesthetic in the Strawberry Hill circle."

Vladislav Degtyarev. Architect Augustus Welby Pugin and the antiquarian tradition (in Russian).

A.W.N. Pugin’s work is frequently seen as the central phenomenon of historicist architecture of the 19th century. Nevertheless, the historicist paradigm differs greatly from what is deduced out of Pugin’s writings. The aim of the following paper is to clarify Pugin’s relations with the antiquarian tradition of the previous centuries and to derive his notion of “truthfulness” in architecture from this tradition.

Keywords: architecture, antiquarian tradition, Gothic Revival, Pugin.

Vladislav Degtyarev. Gothic Revival and the Possibility of “Gothic Survival” (in Russian).

The notion of “Gothic survival” is still prevalent in literature on Gothic revival architecture in England. This concept implies the possibility of the unreflexive survival of Gothic architectural tradition in some distant provincial regions, where architects, searching connections with the past or folk traditions, could fi nd it. This notion, dating back to the literature
of the beginning of the 20th century, can be convincingly refuted by analyzing the meanings and purposes of different stages of Gothic revival. The article aims to demonstrate that the use of Gothic architectural forms in the second half of the 17th — beginning
of the 18th century was initiated by intellectuals and had no connection to the preservation of artisan traditions.
The courtiers of Elizabeth I, re-enacting mediaeval romances and Arthurian legends, conducted the earliest known Gothic revival. The relation between Elizabethan architecture and Gothic tradition has been
discussed many times. And in later decades — during the Stuart era, the Commonwealth and after the Restoration — Gothic colleges and churches were extensively built.
Basing on the sources available, it can be assumed that, though there was not any chronological break in Gothic architectural tradition, Gothic revival had been ideologically biased from its very beginning. We
can also say that the spread of classical architecture in England not only was unable to destroy the Gothic tradition, but also gave it new meanings and almost immediately made any appeal to Gothic forms an ideological statement.

Keywords: Gothic, architecture, ideology, Middle Ages, past, tradition, Gothic revival, Gothic survival.