Romanesque Revival

This is a listing of 75 buildings from Western Australia in the Romanesque Revival style. The buildings are arranged chronologically, to provide an overview of the development of this architectural style in the state. Basic information (including illustrations) is given for each building, and also references to further documentation. An index of architects has been published as part 7 of the checklist.

This is a listing of 70 buildings from South Australia in the Romanesque Revival style. The buildings are arranged chronologically, to provide an overview of the development of this architectural style in the state. Basic information (including illustrations) is given for each building, and also references to further documentation. An index of architects has been published as part 7 of the checklist.

lanak govori o dvojim orguljama danaπnje -akovaËke katedrale, ranijima iz 1882., izraenim kod bavarske tvrtke Steinmayer s kuÊiπtem izraenim prema projektima beËkog arhitekta Friedricha Schmidta i njegovog uËenika Hermana Bolléa, koje su izgorjele 1933. u velikom poaearu katedrale, i danaπnjima, koje je kao repliku izradila slovenska tvrtka Franc Jenko 1936. godine.

A presente dissertação incide sobre o estudo do Templo-Monumento de Santa Luzia, sobranceiro á cidade de Viana do Castelo. O seu objectivo primário é estabelecer o estado da arte no que concerne ao que se tem escrito sobre o objecto de estudo. Na falta de trabalhos científicos completos sobre o Templo-Monumento, pareceu-nos fundamental reunir a informação que se encontrava dispersa, apoiando-nos sobretudo em fontes e em documentação, enraizando aí a nossa exposição. O primeiro capítulo reflecte essa preocupação. Procuramos fazer uma descrição dos acontecimentos que culminaram na construção do nosso objecto de estudo, que tanta história tem antes de ser levantado. O Templo-Monumento faz parte de um programa de obras que foi implementado no monte de Santa Luzia, tendo em vista a reestruturação do local. No segundo capítulo abordamos o tema do monte sagrado, e de que forma é que o local da implantação do edifício contribui para a sua valorização espiritual, artística e cultural. Fizemos ainda uma reflexão acerca dos conceitos de monumento, identidade, cultura e património, e de que forma é que estes se co-relacionam.

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

Au moment où J. Puig i Cadafalch élaborait sa géographie du « premier art roman », la Croatie se situait non seulement à la périphérie de ses intérêts, mais à celle de toute l'histoire de l'art. La rareté des monuments d'Istrie et de Dalmatie inclus dans sa topographie résulte essentiellement des lacunes existant à l'époque dans les publications dont il s'est servi, mais aussi des barrières linguistiques 1 . Pourtant, le fait que Puig ait reconnu sur le territoire historique de la Croatie un certain nombre de monuments du « premier art roman » et que la Dalmatie forme la frontière sud-est du style qu'il a défini nous invite dans un premier temps à rectifier sa liste de sites, à la renouveler et la compléter, pour ensuite proposer quelques éléments de réponses aux questions générales que posent ses thèses.

This is a listing of 200 buildings from Victoria in the Romanesque Revival style. The buildings are arranged chronologically, to provide an overview of the development of this architectural style in the state. Basic information (including illustrations) is given for each building, and also references to further documentation. An index of architects has been published as part 7 of the checklist.

Toward the end of the eighteenth century the finances of the Holy Apostolic and Metropolitan Church of Santiago de Compostela were seriously threatened when the Duke of Arcos brought a suit before the High Court of Castile against the validity of the ex-voto owed to Saint James for his decisive aid to a Christian army fighting the Moors in 844. The Voto, as was called, brought an additional tithe to that Church from all over the Spanish Empire and represented a staggering amount of money. The Compostela Chapter answered the Duke’s move by generating all kinds of supporting texts and, aware of the power of images, produced some in an effort to validate the spurious charter attributed to Ramiro I (842-850) instituting the Voto. This paper explores how they did it.

"This article examines two developments in Scottish architecture
hitherto considered unrelated: a late medieval Romanesque
revival in ecclesiastical architecture and the arrival of
Italian Renaissance motifs. The first part sets various Romanesque-
looking architectural features in the wider political
and cultural context of Scotland c. 1380-c. 1520 to show that,
far from being retardataire, they reflect a mood of Scottish
national self-awareness and confidence found also in veneration
of native saints and the writing of history, which looked
back to the Golden Age of the Canmore dynasty (1058-1286),
to the beginnings of the Scottish church, and, ultimately, to the
belief that the Scots were descended from the Greeks. I argue
that this indigenous Romanesque revival prepared the ground
in many important respects for the Renaissance. In the second
part, I demonstrate that Italian influence was already apparent
in the royal works of kingsJames III (1460-1488) and James IV
(1488-1513), focusing especially on Linlithgow Palace."

Il volume raccoglie gli studi che numerosi storici dell'arte italiani e stranieri hanno voluto dedicare ad Anna Maria Segagni Malacart, a lungo professore ordinario all'Università degli Studi di Pavia, le cui ricerche sull'arte medievale, e in particolare sul romanico lombardo, costituiscono un punto di riferimento irrinunciabile. I saggi qui raccolti coprono un arco cronologico che va dal tardoantico al contemporaneo, e spaziano in molteplici campi dell'indagine storico-artistica e archeologica: dall'architettura alla scultura e alla pittura, dai tessuti alle oreficerie, dallo studio delle committenze alla critica d'arte. Con quest'opera i colleghi, gli amici, gli allievi desiderano festeggiare una luminosa carriera scientifica, contraddistinta da un rigore filologico unico, e al tempo stesso rendere omaggio a quelle doti di garbo, eleganza e umanità che sono per tutti il segno distintivo di Anna, e che di ogni sua lezione hanno fatto una "lezione gentile". [dalla quarta di copertina]

Già da qualche tempo si è ritenuto opportuno proporre per la scul-tura ad incrostazione di mastice, tecnica di decorazione basata su un consapevole e schietto approccio coloristico e polimaterico, l'adozione di un vocabolario che non faccia esplicito riferimento ad altri campi della produzione materiale di epoca medievale('). In questo percorso si sono seguite, in verità, le sollecitazioni presenti negli studi pionieristici della seconda metà dell'Ottocento e dei primissimi anni del Novecento di personalità quali Eugène Emmanuel Viollet-le-Duc(2) e Lucien Bégule(3), attente ., anche se solo in parte, a evitare delle sovrapposizioni, quantomeno semantiche, e ad individuare delle valenze chiaramente esemplificative di questa pratica scultorea. Così, fin da subito, è sembrato preferibile un lessico distinto rispetto a quello usualmente oscillante fràniello' e champlevé , mutuato da altri contesti a seguito di una supposta pratica esecutiva comune(). Di fatto, non basta una procedura similare per impostare dei nessi di corrispon-denza, iié per trovare la derivazione di una tecnica dall'altra, giacché l'ar-co temporale e l'ambiente geografico in cui si diffuse l'incrostazione di...

Ab etwa 1480 realisiert Hofbaumeister Ulrich Pesnitzer unter Herzog Georg von Bayern-Landshut mit der Burg von Burghausen an der Salzach ein Ausbauprojekt nach modernsten Maßstäben. Nach einem durchdachten Gesamtkonzept werden hier Residenz, Bollwerk und Amtssitz vereint. Vorbereitende Studien der Verfasserin haben gezeigt, dass solche Großbauprojekte nicht nur in Einzelfällen als Gesamtheit ‚lesbar‘ sind: In der Konzeptualisierung manifestiert sich als ein Charakteristikum des herrschaftlichen Bauens im späten 15. Jahrhundert auch das intellektuelle Zeitgeschehen.
An der bis dato noch wenig erforschten Verbindung von Architektur und den Ideen des frühen Humanismus setzt die Dissertation an. Zum ersten Mal soll die Anlage der Burg Burghausen als politische Architektur  untersucht und gedeutet werden. Die Burg eignet sich dafür ideal: von immensem finanziellen und personellem Aufwand war der Ausbau das damals bedeutendste Bauprojekt im Territorium der sog. Reichen Herzöge, deren sprichwörtlicher Reichtum von einer Periode wirtschaftlicher Prosperität und politischer Vormachtstellung zeugt. Vergleichendes Arbeiten bringt Burghausen zudem erstmals in den Kontext zeitgenössischer internationaler Bauprojekte. Dabei werden auch die stilistischen Entwicklungen differenzierter als bisher betrachtet und neue Erkenntnisse zur Diskussion gestellt.

Članak govori o povijesti neobizantske arhitekture na području Hrvatske od sredine 19. stoljeća do početka Prvog svjetskog rata. Najveća pozornost posvećena je arhitektonskim rješenjima pravoslavnih crkava. Analiziraju se ostvarenja u neobizantskom stilu od romantičarskog perioda (pravoslavna crkva u Zagrebu arhitekta Franje Kleina) do djela visokog i kasnog historicizma na prijelazu iz 19. u 20. stoljeće (ostvarenja Hermana Bolléa, Janka Holjca i Vinka Rauschera). Djela nastala za pravoslavnu crkvu kontekstualiziraju se s političkim prilikama i nacionalnim ideologijama te s općim zbivanjima u tadašnjoj hrvatskoj arhitekturi, ponajprije s revivalom interesa za bizantski stil u prvim desetljećima 20. stoljeća u djelima Viktora Kovačića i Stjepana Podhorskog.

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.

The content of this monograph on the Djakovo cathedral is concentrated on its interior - frescoes, sculptures, altars, furnishings. The content of some frescoes in the cathedral reflects the political ideology of Bishop Strossmayer. The book was edited by Mr. Žorž Draušnik.

This is a listing of 280 buildings from New South Wales in the Romanesque Revival style. The buildings are arranged chronologically, to provide an overview of the development of this architectural style in the state. Basic information (including illustrations) is given for each building, and also references to further documentation. An index of architects has been published as part 7 of the checklist.

In a paper published in 1995, I explored Romanesque revivalist features in Scottish architecture from the late fourteenth to the early sixteenth centuries, and , by comparing them to contemporary Italian examples, conclude that cultural nationalism was the cause. The present  article revisits the argument and extends it by the inclusion of of examples from Irish architecture of the same period. This is a black and white scan where the original colour illustrations reproduce poorly for which I apologise.

In the years 1913-1917 the canon Ferdinando Manzini directed the restoration of the abbey church of Nonantola. He accompanied the work with the publication of some articles. Here is the complete photographic reproduction of one of them, particularly significant. It was published again recently on the occasion of the reopening of the basilica after the works required by the 2012 earthquake, along with some new pages for presentation and preface. The entire publication is available here for the kind permission of ArchoNonantola, which we thank again here also.

Kapela Majke Božje Snježne na Tekijama kod Petrovaradina jedan je od povijesno najslojevitijih spomenika arhitekture Srijema. Istodobno radi se o ključnom spomeniku vezanom za prijelomni trenutak političke povijesti ne samo Habsburške Monarhije već i cijele Srednje i Jugoistočne Europe 18. stoljeća, bitke u kojoj je Eugen Savojski 1716. porazio osmanlijsku vojsku otvorivši time put prema austrijskom osvajanju cijeloga Srijema te Banata, a potom i sjeverne Srbije i Bosne.
U svoj se literaturi spominje da je u vrijeme osmanske vlasti (16.-17. stoljeće) na mjestu današnje kapele podignuta malena džamija, nedaleko prvotno dva (danas samo jednoga) izvora kvalitetne pitke vode. Nakon što je habsburška vojska osvojila 1687. Petrovaradin i obnovila katoličku hijerarhiju u mjestu župu preuzima isusovački red, koji nekadašnju džamiju, vjerojatno krajem 17. ili počekom 18. stoljeće, konvertira u katoličku kapelu. Nakon bitke 1716. kapela se pretvara, zahvaljujući ikoni Majke Božje Snježne, koju je svetištu poklonio Eugen Savojski, u najvažnije hodočasničko marijansko svetište ovoga dijela Habsburške Monarhije. U to je vrijeme građevina dograđena za dva hvata sredstvima obitelji u bici poginulog habsburškog časnika Siegmunda Breunera.
Kapeli na Tekijama izgled će ponovno biti promijenjen 1754. godine kada isusovci poduzimaju veliki građevinski zahvat s ciljem da osiguraju što više unutrašnjega prostora. Ispred džamije, koja je sada počela služiti kao sakristija, dograđeno je pravokutno svetište i dugi brod koji su u osi malo pomaknuti prema zapadu, u odnosu na prostor džamije, nesumnjivo zbog potrebe prilagođavanja zemljištu, odnosno padu terena prema močvarama uz Dunav. Novi dugi brod pokriven je masivnim baroknim svodovima sa susvodnicama, a zidovi su mu raščlanjeni parovima jonskih pilastara. Glavno pročelje bilo je skromno raščlanjeno pilastrima i nišama sa skulpturama. Ukinućem isusovačkog reda 1773. bitno se mijenja položaj kapele. Petrovaradin prelazi u ruke biskupijskog svećenstva, a potom 1776. godine ulazi u sastav Bosansko-srijemske i Đakovačke biskupije.
Kapela na Tekijama svoj današnji izgled dobila je 1880.-1881. godine obnovom provedenome za vrijeme agilnoga župnika Ilije Okrugića Srijemca (1827. – 1897.).  Dograđeno joj je dvotoranjsko pročelje, po uzoru na pročelje đakovačke katedrale, te sakristija, a na dijelu kapele koji je bio džamija dograđen je visoki tambur s kupolom koja je okrunjena simbolom pobjede kršćanstva nad islamom – križem postavljenim iznad polumjeseca. Prostor džamije povezan je s ranijim isusovačkim svetištem i pretvoren u novu apsidu crkve. Time je potpuno promijenjen izgled ovoga važnog povijesnog spomenika zbog čega je Odjel za bogoštovlje Zapovjedništva Vojne Krajine u Zagrebu (unutar koje se Petrovaradin u to vrijeme nalazio) ovaj zahvat nastojao zaustaviti. Iako se đakovački biskup Josip Juraj Strossmayer složio s mišljenjem Odjela, župnik Okrugić je ipak proveo restauraciju u cijelosti prema svojim nahođenjima, samo je, sukladno odredbama iz Zagreba, promijenio stil restauracije – umjesto neogotičkog odabran je naposljetku neoromanički stil.
Dio izvora projekte za restauraciju pripisuje najvažnijemu arhitektu historicizma u Hrvatskoj Hermanu Bolléu, a dio novosadskom graditelju Georgu Molnáru, no po svoj je prilici Bollé njihov autor.
Novo glavno pročelje znatno je šire od starijega dijela građevine, a i novi je glavni zabat nešto viši od krovišta broda što jasno upućuje na okolnost da je glavni razlog zahvata predstavljala težnja monumentalizaciji građevine te dobivanju reprezentativnijega pročelja koje istodobno estetski odgovara nazorima kraja 19. stoljeća.

Jack P. Donoghue practised as an architect in Brisbane from 1924 to 1959 and was principal partner in the firms Donoghue and Fulton, and Donoghue, Cusick and Edwards. He designed many churches, schools, convents and presbyteries for the Catholic Church in Queensland, and was a significant exponent of the Romanesque Revival. In the 1930s he was also active in the design of hotels. His largest body of work was in the design of hospitals, many of them in Queensland regional centres. The history of his family, with its convict origins, is an interesting case study in the social advancement of Irish Catholics in Australia.

This is a listing of 70 buildings from Queensland in the Romanesque Revival style. The buildings are arranged chronologically, to provide an overview of the development of this architectural style in the state. Basic information (including illustrations) is given for each building, and also references to further documentation. An index of architects has been published as part 7 of the checklist.

While the Neo-Byzantine style was in 19th-century architecture in Croatia exclusively used for architectural projects funded by the Serbian Orthodox Church, in the period shortly before the WWI, it also started to be used in the architecture of the Catholic Church. The crucial role in spreading the use of the style was played by the pioneer of Croatian modernist architecture Viktor Kovačić and his design for St Blasius' Church in Zagreb (1910-13). Neo-Byzantine appeared primary due to ideological and political reasons, because it served as a reference to the period of Croatian political independence in the early Middle Ages. Croatia was then a province within the Austro-Hungarian Monarchy that was striving for greater autonomy or even independence.
During the 1920s the Neo-Byzantine style emerged again in Croatian church architecture, primarily owing to architect Stjepan Podhorsky who applied the style in his numerous church building designs, including the large memorial church in Duvno (present Tomislavgrad in Bosnia-Herzegovina). The church was built in relation to the millennial celebration of the Croatian kingdom (925 – 1925), sponsored by the Karađorđević dynasty of the newly formed state of the Kingdom of Serbs, Croats and Slovenes/Kingdom of Yugoslavia, that Croatia became part of in 1918.

This is a listing of 25 buildings from Tasmania in the Romanesque Revival style. The buildings are arranged chronologically, to provide an overview of the development of this architectural style in the state. Basic information (including illustrations) is given for each building, and also references to further documentation. An index of architects has been published as part 7 of the checklist.

Ce document a été généré automatiquement le 19 avril 2019. Les contenus du Bulletin du centre d'études médiévales d'Auxerre (BUCEMA) sont mis à disposition selon les termes de la Licence Creative Commons Attribution-Pas d'Utilisation Commerciale-Partage dans les Mêmes Conditions 4.0 International.

The romantic fascination with the Middle Ages developed by the 19th-century European intellectual elites, theretofore interested primarily into Ancient art and architecture, turned their attention to medieval architectural monuments. They became particularly interested in burgs and forts because these structures could be associated with historic events and personalities, who, at the time gradually started entering national narratives in Europe. Croatia closely followed these European trends. Ivan Kukuljević Sakcinski's mid-19th century work on the historization, documentation and monument protection in Croatia clearly indicates that burgs were his priority interest. The attempt to rescue the burg of Cetingrad in 1860s shows that the Croatian authorities quickly developed awareness about the importance of the protection of this part of heritage. Even the first ordinances on monument protection issued by the Croatian Provincial Government in 1895 were related to the conservation of burgs, while the attempt to tear down Frankopan's burg in Kraljevica prompted Crown Prince and Archduke Franz Ferdinand to intervene, which consequently led to the foundation of the Provincial Committee for Monument Protection in Croatia and Slavonia in 1910. Lastly, the fascination with medieval forts led numerous European and Croatian aristocratic and bourgeois families to repair, aestheticize and historicize their own properties. Drašković's castle in Trakošćan, Prandau and Normann's in Valpovo, Cséh's in Erdut are merely a few of the burgs repaired or partially rebuilt in the 19th century. All this forms a context within which to examine the work of Laval Nugent (and partly his son Albert) in Trsat, Sušica, Dubovac, Bosiljevo and other places. He purchased the residences of the Frankopans, with whom he identified due to his wife's background, and had the buildings restored in the Gothic or Romanesque revival styles, attempting not only to save them from decay but also to bring back some of their old glory. He thereby created picturesque architectural complexes that are among the most significant early examples of revival styles in Croatian architecture.

Anche a Verona, nel corso dell’Ottocento, non mancarono protagonisti e diffusori di quel particolare clima culturale che, propagandosi verso la metà del secolo, affiancava a un rinnovato interesse storiografico l’idealizzazione e l’esaltazione del Medioevo, assunto a modello ideologico per gli ideali di libertà politica e di unità nazionale dagli storici e dai letterati di maggior spicco dell’Italia post-unitaria. In ambito locale questo clima di revival sfociò nella celebrazione delle proprie radici municipali e si diffuse dall’ambiente più ristretto degli studi a quello più vasto della riprogettazione urbana. La ripresa e il recupero di forme medievali sugli edifici emergenti e caratterizzanti della città, furono i simboli concreti di un’autocoscienza civica entusiasticamente risvegliatasi.
Assai significativo, a tal proposito, fu il restauro della chiesa romanica di S. Lorenzo, fondata fra la fine dell’XI e l’inizio del XII sec., ma completamente rimodernata fra i secc. XV e XIX per fini prettamente cultuali ed estetici; fra il 1887 e il 1898 l’allora rettore don Pietro Scapini smantellò le superfetazioni moderne con il solo obiettivo di riportare la fabbrica al suo supposto stato primigenio.
L’intervento in questione punta all’acquisizione di nuovi dati che permettano di analizzare e circoscrivere compiutamente il ripristino tardo ottocentesco: a tal proposito, sono resi noti parecchi materiali archivistici in gran parte inediti e conservati fra Verona, Roma e New York, che faranno emergere un fondamentale tassello della storia di S. Lorenzo negli ultimi anni dell’Ottocento. Benché la lettura di queste documentazioni possa sembrare un mero esercizio di ricerca archivistica, è opportuno evidenziare come simili carte siano sovente corredate da precise relazioni sullo stato della struttura, da dettagliati rilievi e da fotografie che ci consegnano un'insolita immagine del monumento veronese nel momento in cui conservava gli apparati rinascimentali e barocchi, completamente emendati dai restauri ottocenteschi.

Brojnim temama koje je u hrvatskoj povijesti umjetnosti otvorila ili se njima bavila Olga Maruševski pripada i povijest arhitekture romantizma. Tragom njezinih istraživanja u ovom će se izlaganju pokušati dati sintezan uvid u jedan segment toga razdoblja u povijesti hrvatske arhitekture – arhitekturu Rundbogenstila s posebnim osvrtom na utjecaj bečkog arhitekta Theophila Hansena. Rundbogenstil se u hrvatskoj arhitekturi javlja gotovo istovremeno kada i u središnjim dijelovima Habsburške Monarhije – tijekom 1830- ih i 1840-ih godina. Sakralnom, a dijelom i javnom arhitekturom zadominirat će tek 1850-ih i 1860-ih kada se podiže cijeli niz iznimno reprezentativnih građevina autori kojih su velikim dijelom arhitekti iz Beča, zahvaljujući izrazitoj centraliziranosti Monarhije u to vrijeme. Od javnih građevina ističe se Opća bolnica (danas zgrada Sveučilišta) Ludwiga Zettela u Zagrebu, a od crkava, rimokatoličke crkve u Molvama, Jesenju, Buku, Bosiljevu, Lipi, Kratečkom, Čazmi, Davoru, Rakovici i Drežniku, grkokatolička u Radatovićima te pravoslavne u Otočcu, Ogulinu, Vlahoviću, Medaku, Vukovju, Jošanima i Boviću. Tijekom 1870-ih Rundbogenstil se javlja sve rjeđe – jedino se u arhitekturi pravoslavnih crkava i sinagoga zadržao znatno duže, u osnovi sve do početka 20. stoljeća. Na arhitekte pravoslavnih crkava snažan će utjecaj izvršiti radovi jednog od najvažnijih predstavnika romantizma u arhitekturi Beča, Theophila Hansena, čemu najzornije svjedoči prvotni izgled pravoslavne crkve u Zagrebu.