The emergence of this historicist movement, with a renewed fervor towards nationalism, was one of the first stumbles that industrial society made. When trying to make a reinterpretation of a medieval style, forged in a completely advanced society, the very essence of Gothic architecture was forgotten.

Although many treatises confront the different situations of the neo-Gothic, due to different territorial situations and using as an example the main discussion of the time that pitted John Ruskin and its conservation against the logic of the restoration proposed by Viollet-le-Duc, almost the only point that these writers agreed on was that they both spoke of not losing the essence of the movement. When Ruskin in The Seven Lamps of Architecture[10]​ proposes the "Lamp of Truth", where it "Illuminates architecture in the face of two deceptions, one of a structural type, where the structure does not fulfill its function and those of texture where the materials cannot appear to be other, nor where the ornaments are built with molds", he is dealing precisely against the principles of this pseudo style, since it fails to comply with this premise, neo-Gothic architecture often imposes elements Structural elements that in medieval civilization were essential resources for these constructions, solely to give it this ideal of beauty that Gothic architecture proposed, since with the development of iron, for example, large buttresses could have been avoided or the buttresses themselves, almost the main element of all Gothic construction, could have been replaced with other elements that fulfilled that same function. This guideline was somewhat the one proposed by Viollet-le-Duc when in his Raisoned Dictionary of Architecture[11]​ he spoke about the logic of restoration and presented it with a whole process ahead, in which he said that an architect "Must act like a skilled and experienced surgeon, who only touches an organ after having acquired complete knowledge of its function, and after having foreseen the immediate and future consequences of the operation. If you act by chance, you had better abstain. "It is better for the sick person to die than to kill him."

These two writers, with completely different realities and schools and always opposed by their ideals, agree on this issue, where the essence of architecture had to prevail over any change in society, or better not to intervene since it would cause its destruction. In some way this is what happened with pseudo-Gothic architecture, since many of the works created during this period try to offer a false ideal of beauty, camouflaged behind a Gothic façade, and losing the very spirit of this architecture, which proposed a game of sensations that until now had never been put into play, based on the interpretation of the material they had at that time, which was stone, but which were not typical of an industrial civilization, where new materials could propose a range of new conditions, to solve the same problems with approaches more in line with the period.

The rise of evangelicalism in the early 19th century saw the birth in England of a reaction in the High Church movement that sought to emphasize the continuity between the established Church and the pre-Reformation Catholic Church.[12] Architecture, in the form of Gothic revival, became one of the main weapons in the arsenal of the high church. The Gothic revival also ran in parallel and was based on "medievalism", which had its roots in antiquarian concerns for survivals and curiosities. As “industrialization” progressed, a reaction against machine production and the emergence of factories also emerged in society. Proponents of the picturesque, such as Thomas Carlyle and Augustus Pugin, took a critical view of industrial society and portrayed pre-industrial medieval society as a golden age. For Pugin, Gothic architecture was impregnated with Christian values ​​that had been postponed by classicism and that were being destroyed by industrialization.[13]​.

The Gothic revival also acquired political connotations; The neoclassical, "rational" and "radical" style was seen as associated with republicanism and liberalism (as evidenced by its use in the United States and, to a lesser extent, in republican France), the neo-Gothic, more spiritual and traditional, was associated with monarchism and conservatism, which is reflected in the choice of style to reconstruct the government centers of the British Parliament of the Palace of Westminster (1840-1860) in London, the Canadian Parliament Buildings in Ottawa (1859-1876) and the Hungarian Parliament Building (1885-1904) in Budapest.[14]​.

In English literature, architectural neo-Gothic and classical romanticism gave rise to the genre of the Gothic novel, beginning with The Castle of Otranto (1764) by Horace Walpole,[15] and inspired a century-long genre of medieval poetry that derived from Ossian's pseudo-bardic poetry. Poems such as Lord Alfred Tennyson's Idylls of the King recast specifically modern themes in medieval settings of Arthurian romance. In German literature, the Gothic revival also had a basis in literary fashions.[16]​.

La arquitectura gótica había comenzado en la basílica de Saint Denis, cerca de París, y en la catedral de Sens en 1140[17]​ y terminó con un último florecimiento a principios del siglo con edificios como la capilla de Enrique VII en Westminster.[18]​ Sin embargo, la arquitectura gótica no había desaparecido por completo en el siglo , sino que se ejecutaba lentamente en la construcción de algunas catedrales en curso; y también en las universidades de Oxford y Cambridge, y en la construcción de iglesias en muchos de los distritos rurales cada vez más aislados de Inglaterra, Francia, Alemania, la Mancomunidad de Polonia-Lituania y España.[19]​ La catedral de San Columbano (completada en 1633) fue una importante nueva edificación de estilo gótico perpendicular.[20]​.

En Bolonia, en 1646, el arquitecto barroco Carlo Rainaldi también eligió unas bóvedas góticas (completadas en 1658) para la basílica de San Petronio, iglesia que había estado en construcción desde 1390; allí, el contexto gótico del edificio anuló las consideraciones sobre si era pertinente completarla en el modo arquitectónico entonces actual. Guarino Guarini, un monje teatino del siglo , activo principalmente en Turín, reconoció el «orden gótico» como uno de los principales sistemas de arquitectura y lo utilizó en su práctica profesional.[21]​.

Del mismo modo, la arquitectura gótica sobrevivió en algunos entornos urbanos durante el final del siglo , como se muestra en Oxford y en Cambridge, donde algunas añadidos y reparaciones de los edificios góticos se consideraron más acordes con el estilo de las edificaciones originales que el entonces barroco contemporáneo. La Tom Tower de sir Christopher Wren para la Christ Church, en la Universidad de Oxford[23]​ y, después, las torres de la fachada oeste de la abadía de Westminster, de Nicholas Hawksmoor, diluyeron los límites entre lo que se llama «supervivencia gótica»» y el neogótico.[24]​ Por toda Francia, en los siglos y , se continuaron construyendo iglesias como, San Eustaquio "Iglesia de San Eustaquio (París)") en París, que seguían siendo formas góticas envueltas en detalles clásicos, hasta la llegada de la arquitectura barroca.[25]​.

Durante el auge del romanticismo, a mediados del siglo , entre los conocedores influyentes surgió un mayor interés y conciencia de la Edad Media, lo que creó una aproximación más apreciativa de las artes medievales seleccionadas, comenzando con la arquitectura eclesiástica, los monumentos de las tumbas de personajes reales y nobles, las vidrieras y los manuscritos iluminados del gótico tardío. Otras artes góticas, como los tapices y la metalistería, continuaron siendo ignoradas como bárbaras y rudimentarias; sin embargo, las asociaciones sentimentales y nacionalistas con las figuras históricas fueron tan fuertes en este renacimiento temprano como las preocupaciones puramente estéticas.[26]​.

Los románticos alemanes (incluidos el filósofo y escritor Goethe y el arquitecto Karl Friedrich Schinkel) comenzaron a apreciar el carácter pintoresco de las ruinas —«pintoresco» se convirtió en una nueva cualidad estética—, y esos efectos suaves del tiempo que los japoneses llaman wabi-sabi y que Horace Walpole independientemente admiraba, ligeramente irónico, como «el verdadero óxido de las guerras de los barones». Los detalles del «Gothic» de la villa Twickenham de Walpole, Strawberry Hill House comenzada en 1749, apelaron a los gustos rococó de la época,[27]​ y fueron seguidos bastante rápidamente por James Talbot en la Lacock Abbey, en Wiltshire.[28]​ En la década de 1770, arquitectos completamente neoclásicos como Robert Adam y James Wyatt estaban ya preparados para incorporar detalles góticos en salones, bibliotecas y capillas y, para William Beckford en Fonthill en Wiltshire, una visión romántica completa de una abadía gótica.[31]​[32]​.

Algunos de los primeros ejemplos arquitectónicos de los revividos se encuentran en Escocia. Inveraray Castle"), construido a partir de 1746 para el Duque de Argyll"), con la colaboración en el diseño de William Adam "William Adam (arquitecto)"), muestra la incorporación de torretas.[34]​ El historiador de la arquitectura John Gifford escribe que las almenas eran la «afirmación simbólica del poder cuasi-feudal aún ejercido [por el duque] sobre los habitantes de sus jurisdicciones heredables».[35]​ La mayoría de los edificios todavía estaban se construían en gran parte en el estilo palladiano") establecido, pero algunas casas empezaron a incorporar características externas del estilo baronial escocés. Algunas de las casas de Robert Adam en este estilo son Mellerstain")[36]​ y Wedderburn")[37]​, en Berwickshire, y Seton Castle") en East Lothian,[38]​ pero esto se ve más claramente en el Castillo de Culzean, en Ayrshire, remodelado por Adam desde 1777.[39]​ El excéntrico paisajista Batty Langley") incluso intentó «mejorar» las formas góticas dándoles proporciones clásicas.[40]​.

Una generación más joven, tomando la arquitectura gótica más en serio, proporcionó los lectores a las series de John Britton Architectural Antiquities of Great Britain, que comenzó a aparecer en 1807.[41]​ En 1817, Thomas Rickman escribió un Attempt... para nombrar y definir la secuencia de estilos góticos en la arquitectura eclesiástica inglesa, «un libro de texto para el estudiante de arquitectura». Su largo título antiguo es descriptivo: Attempt to discriminate the styles of English architecture from the Conquest to the Reformation; preceded by a sketch of the Grecian and Roman orders, with notices of nearly five hundred English buildings (Intento de distinguir los estilos de la arquitectura inglesa desde la Conquista hasta la Reforma; precedido por un bosquejo de los órdenes griegos y romanos, con noticias de casi quinientos edificios ingleses). Las categorías que utilizó fueron normando, inglés temprano, decorado") y perpendicular. Tuvo numerosas ediciones y todavía se republicaba en 1881; se volvió a publicar en el siglo .[43]​[44]​.

El uso más común de la arquitectura neogótica fue en la construcción de iglesias. Los principales ejemplos de catedrales góticas en EE. UU. son las catedrales neoyorkinas de San Juan el Divino y San Patricio y la catedral Nacional de Washington en el monte St. Alban, en el noroeste de Washington D. C. Una de las mayores iglesias neogóticas en Canadá es la basílica de Nuestra Señora Inmaculada "Basílica de Nuestra Señora Inmaculada (Guelph)") (1876-1888) en Guelph (Ontario).[45]​.

La arquitectura neogótica siguió siendo uno de los estilos neohistoricistas más populares y longevos. Aunque en los ámbitos comercial, residencial e industrial comenzó a perder fuerza y popularidad después del tercer cuarto del siglo , todavía se siguieron construyendo iglesias neogóticas y, en especial, en el conocido como «gótico colegial», escuelas, colegios y universidades, en un estilo que siguió siendo popular en Inglaterra, Canadá y Estados Unidos hasta bien entrada la primera mitad del siglo . Sólo cuando comenzaron a afianzarse los nuevos materiales, como el acero y el vidrio, junto con la preocupación por la funcionalidad en la vida laboral y cotidiana, y el ahorro de espacio en las ciudades, lo que significaba la necesidad de construir en altura, el neogótico comenzó a desaparecer de los encargos populares.[46]​.

Decorative

The revived Gothic style was not limited to architecture. Los edificios góticos clásicos de los siglos al fueron una fuente de inspiración para los diseñadores del siglo en otros muchos campos de trabajo. En una amplia gama de objetos se aplicaron elementos arquitectónicos de estilo neogótico como los arcos apuntados, las cubiertas con pendientes pronunciadas y los tallados elegantes como encajes y celosías. Some examples of Neo-Gothic influence can be found in the heraldic motifs on coats of arms; en los muebles pintados con elaboradas escenas como los caprichosos detalles góticos en los muebles ingleses que se remontan a la casa de Lady Pomfret") en la Arlington Street londinense (años 1740);[47]​ y el calado gótico en los respaldos de sillas y en los patrones en el acristalamiento de estanterías, que fue una característica familiar del Director de Chippendale (1754, 1762) que, por ejemplo, en la librería de tres partes empleaba detalles góticos con profusión rococó, en una forma simétrica.[48]​[49]​ La Abbotsford House de sir Walter Scott ejemplifica en su mobiliario el estilo «gótico regencia».[51]​[52]​ El renacer del gótico también supuso la reintroducción de las vestimentas y los bailes medievales en las recreaciones históricas que se montaron especialmente en la segunda parte del siglo , aunque una de las primeras, el Eglinton Tournament") of 1839, remains the most famous.[53]​.

By the middle of the century, Gothic tracery and niches could be recreated cheaply on wallpaper, and Gothic blind arcades could already decorate a ceramic jug. J. G. Crace&action=edit&redlink=1 "John Gregory Crace (designer) (not yet written)"), an influential decorator from an influential family of interior designers, expressed his preference for the Gothic style in 1857: "In my opinion, there is no quality of lightness, elegance, richness or beauty which any other style possesses... [or] in which the principles of solid construction can be so well carried out."[54] The Illustrated Catalog of the The Great Exhibition of 1851 is full of Gothic details, from lace and carpet designs to heavy machinery. The volume High Victorian Design, a work published in 1951 by Nikolaus Pevsner on the displays at the Great Exhibition, was an important contribution to the academic study of Victorian taste and an early indicator of the subsequent turn-of-the-century rehabilitation of Victorian architecture and the objects with which it decorated its buildings.[55]

In 1847, eight thousand British Crown coins were minted in proof conditions designing an ornate reverse in accordance with the revived style. Considered by collectors to be particularly beautiful, they are known as "Gothic crowns." The design was repeated in 1853, again as a test. A similar two-shilling coin, the "Gothic Florin" was minted for circulation from 1851 to 1887.[56][57]​.

French neo-Gothic sought its roots in medieval French Gothic architecture, the origin of everything in the 19th century. Gothic architecture was sometimes known during the medieval period as "Opus Francigenum" (or "French art"). The French scholar Alexandre de Laborde wrote in 1816 that "Gothic architecture has beauties of its own,"[58] marking the beginning of the Gothic revival in France. From 1828, Alexandre de Brogniart, director of the Sèvres porcelain factory, produced fired enamel paintings on large panels of flat glass, for the royal chapel of Dreux of King Louis-Philippe, an early and important French commission in the Gothic taste,[59]​ preceded mainly by some Gothic features in some paysager gardeners").[60]​.

French neo-Gothic was established on more solid intellectual foundations by a pioneer, Arcisse de Caumont, who had founded the Société des Antiquaires de Normandie at a time when antiquarian still meant a connoisseur of antiquities, and who published his great work on architecture in French Normandy in 1830.[61]​ The following year, 1831, Victor Hugo's historical romantic novel Our Lady of Paris, appeared with the Hunchback Quasimodo, in which the great Gothic cathedral of Paris appeared, both the setting and protagonist of a very popular work of fiction. However, Hugo intended his book to spark a concern for preserved Gothic architecture in Europe, rather than to start a craze for the Neo-Gothic in contemporary life. in 1837 he became secretary of a new Commission on Historical Monuments (Commission des Monuments Historiques*).[63]​* That was the Commission that instructed Eugène Viollet-le-Duc to report on the conditions of Vézelay Abbey in 1840.[64]​ After that, Viollet le Duc was tasked with restoring most of France's symbolic buildings, including Notre-Dame de Paris*,[65]​* Vézelay itself,[66]​ the Citadel of Carcassonne,[67]​ the Castle of Roquetaillade,[68]​ the famous abbey of Mont-Saint-Michel on its rugged coastal island,[69]​ Pierrefonds,[70]​ and the papal palace in Avignon.[67]​ When the first major neo-Gothic church was built in France,[72]​ the Basilica of Saint Clotilde in Paris,[74]​ begun in September 1846 and consecrated on November 30, 1857, the chosen architect was, significantly, of German origin, Franz Christian Gau (1790-1853); although the design was significantly modified by Gau's assistant, Théodore Ballu, in the later stages, to incorporate the pair of arrows crowning the western façade.[75]​.

Meanwhile, in Germany, interest was revived in finishing Cologne Cathedral, which had begun construction in 1248 and was still unfinished at the time of the Gothic revival. The "Romantic" movement of the 1820s sparked interest, and work began once again in 1842, significantly marking a German return to Gothic architecture. Prague Cathedral was also completed late.[76] Michael J. Lewis has explored the importance of the Cologne completion project in German-speaking lands in his work The Politics of the German Gothic Revival: August Reichensperger. Reichensperger had no doubts about the central position of the cathedral in Germanic culture: "Cologne Cathedral is German in its essence, it is a national monument in the broadest sense of the word, and probably the most splendid monument that has been transmitted to us from the past."[77]

Due to romantic nationalism at the turn of the century, both Germans, French and English claimed that the original Gothic architecture of the century had originated in their own country. The English boldly coined the term "early English" for "Gothic," a designation that implied that Gothic architecture was an English creation. In his 1832 edition of Notre-Dame de Paris, Victor Hugo said: “Let us inspire in the nation, if possible, the love of national architecture,” implying that “Gothic” was a national heritage of France. In Germany, with the completion of Cologne Cathedral in the 1880s, which was the tallest building in the world, the cathedral was seen as the apogee of Gothic architecture. 1890)[80]​ and that of St. Vitus Cathedral in Prague (1844-1929).[81]​.

In Belgium, a century-old church in Ostend burned down in 1896. King Leopold II financed its replacement with a cathedral-like church in the style of the Votive Church of Vienna "Votive Church (Vienna)", also neo-Gothic, and the Cologne Cathedral: the Church of St. Peter and St. Paul "Church of St. Peter and St. Paul (Oostende)"). at the beginning of the century following strictly the design of Rombout II Keldermans in Brabantine Gothic, and became the new north wing of the Town Hall.[83][84]​ In Florence, the temporary façade of the Duomo erected for the nuptials of the Medici-House of Lorraine in 1588-1589 was dismantled, and the west end of the cathedral remained bare again until 1864, when a competition was held to design a new façade appropriate to Arnolfo di Cambio's original building and the elegant bell tower next door. The competition was won by Emilio de Fabris"), so work with its polychrome design and mosaic panels began in 1876 and was completed in 1887, creating the neo-Gothic western façade.[85] Eastern Europe also saw much neo-Gothic construction. In addition to the Hungarian Parliament Building in Budapest") (1885-1904),[14] the Bulgarian national awakening saw the introduction of neo-Gothic elements into its vernacular ecclesiastical and residential architecture. The major project of the Slavine school was the cathedral of the Lopushna Monastery") (1850-1853), although some later churches, such as that of Gavril Genovo") (1873), display neo-Gothic features most prominent vernaculars.[86]​.

In Scotland, although figures such as Frederick Thomas Pilkington") (1832-1898)[87]​ in secular architecture adopted a Gothic style similar to that used further south in England, it was characterized by the readoption of the Scottish baronial style").[88]​ Important to the adoption of the style at the turn of the century was Abbotsford House, the residence of the novelist and poet Sir Walter Scott. Rebuilt for him beginning in 1816, it became a model for the modern recovery of the baronial style. Common features were taken from the houses of the centuries and such as crested doors, stepped gables, pointed turrets and machicolations "Matacán (architecture)"). The style was popular throughout Scotland and was applied to many relatively modest homes by architects such as William Burn") (1789-1870), David Bryce") (1803-1876),[90]​ Edward Blore (1787-1879), Edward Calvert&action=edit&redlink=1 "Edward Calvert (architect) (not yet drafted)") (ca. 1847-1914) and Robert Stodart Lorimer") (1864-1929) and in urban contexts, including the Cockburn Street building in Edinburgh (from the 1850s), as well as the national monument to William Wallace in Stirling (1859-1869).[91]​ The reconstruction of Balmoral Castle as a baronial palace and its adoption as a royal retreat from 1855-1888 confirmed the popularity of the style.[89]​.

In the United States, the first "Gothic style" church[92] (as opposed to churches with Gothic elements) was Trinity Church on Green in New Haven, Connecticut. It was designed by Ithiel Town between 1812 and 1814, while he was building his Federalist-style Center Church in New Haven, adjacent to this radical new "Gothic style" church. Its foundation stone was laid in 1814,[93] and it was consecrated in 1816.[94] It predates St Luke's Church, Chelsea, which is often said to have been the first Gothic church in London. Although built of trap rock stone with arched windows and doorways, parts of its tower and battlements were of wood. Gothic buildings were later erected by Episcopal congregations in Connecticut at St. John's in Salisbury (1823), St. John's in Kent (1823-1826), and St. Andrew's in Marble Dale (1821-1823).[92] These were followed by Town's design for Christ Church Cathedral (Hartford, Connecticut)&action=edit&redlink=1 "Christ Church Cathedral (Hartford, Connecticut) (not yet written)") (1827), which incorporated Gothic elements such as the buttresses in the church's factory. St. Paul's Episcopal Church in Troy"), New York, was built in 1827-1828 as an exact copy of Town's design for New Haven's Trinity Church, but using local stone; due to changes in the original, St. Paul's is closer to Town's original design than Trinity. In the 1830s, architects began to copy specific English Gothic and Gothic Revival churches, and these "mature "neo-Gothic" buildings made the domestic architecture of the Gothic style that had preceded it seemed primitive and antiquated.

There are many examples of neo-Gothic architecture in Canada. The first major building was the Notre-Dame Basilica in Montreal (1824-1829) which was designed in 1824. The capital, Ottawa, Ontario, was predominantly a creation of the century in the neo-Gothic style. The buildings on Parliament Hill (1859-1876) are the preeminent. outlying areas, showing how popular the Gothic Revival movement had become.[45] Other examples of Canadian Neo-Gothic architecture in Ottawa were the Victoria Memorial Museum (1905-1908),[98] the Royal Canadian Mint") (1905-1908),[99]​ and the Connaught Building") (1913-1916),[100]​ all works by David Ewart").[101]​.

Pugin and the "truth" in architecture

In the late 1820s, Augustus Pugin, still a teenager, was working on Gothic-style decorations on luxury furniture[102]​ for the manufacturers Morel and Seddon, who were redecorating Windsor Castle on behalf of the elderly King George VI, in a Gothic taste adapted to the site.[104]​[105]​ Pugin also worked for the royal silversmiths Rundell Bridge and Co., Pugin providing designs for silver from 1828, using the Anglo-French Gothic vocabulary of the century that he would later continue to favor in designs for the new Palace of Westminster.[106] Between 1821 and 1838, Pugin and his father published a series of volumes of architectural drawings, the first two titled, Specimens of Gothic Architecture, and the next three, Examples of Gothic Architecture, which would remain both in print as standard references for Gothic revivalists for at least the next century.[107]​.

In his book Contrasts: or, a Parallel between the Noble Edifices of the Middle Ages, and similar Buildings of the Present Day (1836), Pugin expressed his admiration not only for medieval art, but for the entire "medieval spirit," suggesting that Gothic architecture was the product of a purer society. In The True Principles of Pointed or Christian Architecture (1841), he set forth his “two great rules of design: first, that there should be no features of a building which are not necessary for convenience, construction, or property; second, that all the ornament must consist of enriching the essential construction of the building. Urging modern craftsmen to seek to emulate the style of medieval craftsmanship, as well as to reproduce its methods; Pugin sought to re-establish Gothic as the true Christian architectural style. Pugin's most notable project was the Houses of Parliament, Westminster, after its predecessor was largely destroyed in a fire in 1834. His part in the design consisted of two campaigns, 1836-1837 and again in 1844 and 1852, with the classicist Charles Barry as his superior. nominal. Pugin provided the external decoration and interiors, while Barry designed the symmetrical layout of the building, causing Pugin to remark: 'All Greek, sir; Tudor details in a classic body.»[112]​.

• - Designs by Augustus Pugin.

• - Armoire.

• - St. Giles Church Chapel, Cheadle, Staffordshire.

• - Royal throne in the House of Lords of the Palace of Westminster.

• - Stained glass.

Ruskin and Venetian Gothic

John Ruskin complemented Pugin's ideas in his two influential theoretical works: The Seven Lamps of Architecture (1849) and The Stones of Venice (1853). Finding his architectural ideal in Venice (he declared the Doge's Palace "the central building of the world"), Ruskin suggested that Gothic buildings surpassed all others because of the "sacrifice" of the stonemasons who tortuously decorated each ashlar. In this, he drew a contrast between the physical and spiritual satisfaction that a medieval craftsman derived from his work, and the lack of those satisfactions afforded to modern, industrialized work.[114][115] Declaring the Doge's Palace to be "the central building of the world", Ruskin suggested the use of Gothic for government buildings as Pugin had done for churches, although this was only in theory. When his ideas were put into practice, Ruskin often did not like the result, although he supported many architects, such as Thomas Newenham Deane") and Benjamin Woodward"), and was reputed to have designed some of the corbel decorations for the couple's Oxford Museum of Natural History.[116] A major clash between Gothic and Classical styles in relation to government offices occurred less than a decade after the publication of The Stones of Venice. In a public competition for the construction of a new Foreign Office in Whitehall, first prize was awarded to a neo-Gothic design by George Gilbert Scott overturned by the Prime Minister, Lord Palmerston, who successfully demanded a building in the Italianate style.[118][119]​.

Ecclesiology and funerary style

The English intellectual environment was dominated in the religious sphere by a renewal of Anglo-Catholicism and the ritualism of the High Church through the Oxford movement, which proposed the construction of a large number of new churches to serve the growing population (between 1818 and 1824 about 450 were created following the Church Building Act"), approved on the initiative of the Church Building Society")-Commissioners' church")) and to have cemeteries for burials in good sanitary conditions.[120] His supporters were present in the universities, where the ecclesiological movement was being formed"). Its supporters believed that Gothic was the only style appropriate for parish churches, and favored a particular stage of Gothic architecture: the "decorated" of the second half of the century and first of the century. The Cambridge Camden Society"),[121]​ through its magazine The Ecclesiologist, was very critical of new church constructions that did not meet its purist standards, which came to be called "archaeological Gothic." His pronouncements were followed so avidly that he became the center of the flood of Victorian restoration that affected most Anglican cathedrals and parish churches in England and Wales.[122] However, not all architects or all clients fell into this mainstream; especially those linked to non-conformist or ecumenical religious movements. Even adopting the neo-Gothic aesthetic, they consciously sought to combine it with others, or sought the more sober Northern European Gothic, such as the ecumenical cemetery Abney Park Cemetery, by William Hosking).[123]

St Luke's Church, Chelsea, was the new construction of the Commissioner's Church of 1820-1824, partly built with a grant of £8,333 for its construction from money voted by Parliament as a result of the Church Building Act of 1818.[124] It is often said to have been the first neo-Gothic church in London,[125] and, as Charles Locke put it Eastlake"): "probably the only church of its time in which the main roof was filled with stones."[126] However, the parish was firmly a low church, and the original layout, modified in the 1860s, was as a "preaching church" dominated by the pulpit, with a small altar and wooden galleries over the aisle.[127]

The development of major private metropolitan cemeteries was occurring at the same time as the movement; Sir William Tite pioneered the first Gothic-style cemetery in West Norwood in 1837, with Gothic-style chapels, gates and decorative features, attracting the interest of contemporary architects such as George Edmund Street, Barry and William Burges. The style was immediately hailed as a success and universally replaced the previous preference for classical design.[128]

However, not all architects or clients were swept away by this tide. Although neo-Gothic managed to become an increasingly familiar architectural style, the attempt to associate it with the notion of high superiority of the high church, as advocated by Pugin and the ecclesiological movement, was anathema to those with ecumenical or nonconformist principles. They sought to adopt it solely for its aesthetic and romantic qualities, combine it with other styles, or look to the brick Gothic of northern Europe for a simpler look; or in some cases, in all three options, as in the non-denominational Abney Park cemetery") in east London, designed by William Hosking FSA") in 1840.[129]

France had been somewhat late in entering the neo-Gothic scene, but produced an important figure in the revival in Eugène Viollet-le-Duc. As well as a powerful and influential theorist, Viollet-le-Duc was a leading architect, whose genius lay in restoration.[131] He wanted to restore buildings to a state of completion that they would not have had even when they were first built, theories which he applied to his restorations of the walled city of Carcassonne,[67] to Notre-Dame and the Sainte Chapelle in Paris.[65] In this respect, he differed from his English counterpart Ruskin, as he It often replaced the work of medieval stonemasons. His rational approach to Gothic contrasted with the romantic origins of the revival.[132][133] Throughout his career he remained in a dilemma over whether iron and masonry should be combined in a building. In fact, iron had been used in Gothic buildings since the early days of the revival. It was only with Ruskin and the Gothic archaeological demand for historical truth that iron, whether visible or not, was considered unsuitable for a Gothic building. Finally, the utility of iron won out: "Replacing a cast iron shaft with a column of granite, marble or stone is not bad, but one must agree that it cannot be considered an innovation, like the introduction of a new principle. Replacing a stone or wooden lintel with an iron sleeper is very good.'[134] However, he was firmly opposed to the illusion. «it is necessary that the stone appear to be made of stone; iron, of iron; the wood, of wood».[135]​.

The arguments against modern building materials began to be ignored in the middle of the century as large prefabricated iron and glass structures, such as the Crystal Palace or the glass courtyard of the Oxford University Museum of Natural History, were erected, which seemed to embody Gothic principles. Between 1863 and 1872 Viollet-le-Duc published his Entretiens sur l'architecture, a set of daring designs for buildings that combined iron and masonry.[140] Although these projects were never realized, they influenced several generations of designers and architects, especially Antoni Gaudí, in Spain and, in England, Benjamin Bucknall"), Viollet's main English follower and translator, whose masterpiece was the Woodchester Mansion").[141] The flexibility and strength of cast iron freed neo-Gothic designers to create new forms. impossible structural Gothic in stone, as in Calvert Vaux's cast iron Gothic bridge in Central Park, New York (1860). Vaux uses openwork shapes derived from Gothic blind arcades and window tracery to express the birth and support of the arched bridge, in flexible forms that presage Art Nouveau.[142]​.

In the United States, Collegiate Gothic was a late, literal revival of English neo-Gothic, adapted for American college campuses. The firm of Cope & Stewardson") was an early and important exponent, transforming the campuses of Bryn Mawr College, Princeton University, and the University of Pennsylvania in the 1890s. In 1872, Abner Jackson, president of Trinity College, Connecticut, visited Britain, seeking models and an architect for the university's planned new campus. William Burges was chosen and drew up a master plan of four quadrangles, in his early French Gothic style. Axel Haig") produced sumptuous illustrations.[146] However, the estimated cost, just under a million dollars, together with the sheer scale of the plans, completely alarmed the university's trustees[147]​ and only one-sixth of the plan, the present Long Walk"), was executed, with Francis H. Kimball") acting as local architect and supervisor, and Frederick Law Olmsted laying the foundations.[148] Hitchcock considers the result. "perhaps the most satisfactory of all [Burges's] works and the best example anywhere of Victorian collegiate Gothic architecture."[149]

The movement continued into the 19th century, with Cope & Stewardson's campus for Washington University in St. Louis (1900–1909), Charles Donagh Maginnis' buildings at Boston College (1910) (including Gasson Hall), Ralph Adams Cram's design for Princeton University Graduate College (1913), and James Gamble Rogers' reconstruction of the Yale University campus. (1920).[153] Charles Klauder's Gothic skyscraper on the University of Pittsburgh campus, the Cathedral of Learning (1926) showcased many Gothic styles both inside and out, while using modern technologies to make the building taller.[154]

Las casas gótico de carpintería") y las pequeñas iglesias se hicieron comunes en América del Norte y en otros lugares a fines del siglo .[155]​ Estas edificaciones adaptaron elementos góticos como los arcos apuntados, gabletes empinados y torres en la tradicional construcción estadounidense de entramado de madera. La invención de la sierra de calar y las molduras de madera producidas en masa permitieron que algunas de esos edificios imitaran la fenestración florida del alto gótico. Pero, en la mayoría de los casos, los edificios góticos de carpintería estaban relativamente desprovistos de adornos, conservando solo los elementos básicos de las ventanas de arco apuntado y los gabletes empinados. Un ejemplo bien conocido de gótico de carpintería es una casa en Eldon, Iowa"), que Grant Wood utilizó para el fondo de su cuadro American Gothic.[156]​.

New Zealand and Australia

Benjamin Mountfort, born in Great Britain, trained in Birmingham and later resident in Canterbury, New Zealand), imported the Gothic Revival style to his adopted country and designed Neo-Gothic churches in wood and stone, especially in Christchurch. of the Angels, Wellington "Church of St. Mary of the Angels (Wellington), by Frederick de Jersey Clere") is inspired by French Gothic, and was the first neo-Gothic church built in reinforced concrete. The style was also favored in the city of Dunedin, in southern New Zealand, where the wealth of the Otago Gold Rush in the 1860s allowed many stone buildings to be constructed, using dark breccia stone and a local white limestone, Oamaru stone"), including the Otago University Registry Building by Maxwell Bury")[160]​ and the Dunedin Law Courts") by John Campbell&action=edit&redlink=1 "John Campbell (architect) (not yet drafted)").[161]​.

In Australia, particularly in Melbourne and Sydney, a large number of neo-Gothic style buildings were erected. William Wardell") (1823-1899) was one of the country's most prolific architects; born and trained in England, after emigrating, he completed some Australian buildings of notable design, such as St. Patrick's Cathedral in Melbourne (1858-1939) and St. John's College") and St. Mary's Cathedral in Sydney "St. Mary's Cathedral (Sydney)"). Like many other architects of the 19th century, Wardell could work in different styles depending on the requests of his clients; Government House, Melbourne") is Italianate in style.[162] His building for the headquarters of the English, Scottish and Australian Bank") in Melbourne has been described as "the Australian masterpiece of neo-Gothic." Australia».[165]​.

• - New neo-Gothic cathedrals in Australia and New Zealand.

• - St. Mary's Cathedral "St. Mary's Cathedral (Sydney)"), Sydney (1868-1882;-2000).

• - St Patrick's Cathedral (Melbourne), Melbourne (1858-1897; -1939).

• - Christchurch Cathedral (1864-1904), Christchurch, New Zealand.

• - St Paul's Cathedral, Melbourne (1880-1891).

• - Sacred Heart Cathedral "Sacred Heart Cathedral (Bendigo)"), Bendigo, Australia (1897-1977).

• - The MacLaurin Hall, University of Sydney, Australia.

• - Otago Boys High School, Otago, New Zealand.

• - The Rialto buildings. Collins Street, Melbourne, like other commercial buildings in that city, were built in the neo-Gothic style.

• - Newman College of the University of Melbourne.

Henry-Russell Hitchcock, architectural historian, noted the spread of Gothic Revival in the early 19th century, "wherever English culture spread, to the west coast of the United States and the farthest antipodes."[166] The British Empire, almost at its geographical peak at the height of the Gothic revival, aided or forced this expansion. The English-speaking domains, Canada, India, Australia and New Zealand generally adopted British styles in toto; other parts of the empire saw regional adaptations. India saw the construction of many of these buildings, in so-called Indo-Saracenic or Hindu-Gothic styles.[167] Notable examples include Chhatrapati Shivaji Terminus (formerly Victoria Terminus)[168] and the Taj Mahal Palace Hotel, both in Bombay.[169] At the hill station of Shimla, the summer capital of British India, attempts were made to recreate the Home Counties in the foothills. of the Himalayas. Although neo-Gothic was the predominant architectural style, alternatives were also implemented; Rashtrapati Niwas, the former viceregal residence, has been variously described as Scottish Baronial Revival),[170]​ Tudor Revival[171]​ and Jacobethan.[172]​.

Other examples in the East from the turn of the century include the Church of the Savior, Peking "Church of the Savior (Peking)" (1880-1887), built by order of the Guangxu Emperor and designed by the Catholic missionary and architect Alphonse Favier); colony of the Dutch East Indies), the Jakarta cathedral "Cathedral of Our Lady of the Assumption (Jakarta)") was begun in 1891 and completed in 1901 by the Dutch architect Antonius Dijkmans; and Gustave Eiffel, was consecrated in 1891 in the still Spanish colony.[176] The buildings for new churches in South Africa were many, with little or no effort to adopt vernacular forms. Robert Gray&action=edit&redlink=1 "Robert Gray (bishop of Cape Town) (not yet drafted), the first bishop") of Cape Town, wrote: "I am sure that we do not overestimate the importance of royal churches built in the fashion of our English churches." He oversaw the construction of some fifty buildings of this type between 1848 and his death in 1872. revival, particularly in church architecture,[180]​ for example, the metropolitan cathedral of São Paulo in Brazil by the German Maximilian Emil Hehl"),[181]​ and the cathedral of La Plata in Argentina.[182]​.

The Gothic style dictated the use of compressed structural elements, leading to tall, buttressed buildings, with supporting interior columns made of stone masonry and tall, narrow windows. But by the turn of the century, technological developments such as the steel frame, the incandescent light bulb, and the elevator made that approach obsolete. Steel latticework supplanted the non-ornamental functions of cross vaults and flying buttresses, providing larger, more open interiors with fewer columns to interrupt the view.

Some architects persisted in using neo-Gothic tracery as ornamentation applied to an underlying iron skeleton, for example Cass Gilbert in his New York skyscraper Woolworth Building[183] in 1913 or Raymond Hood in Chicago's Tribune Tower in 1922.[184] But, during the first half of the century, neo-Gothic was displaced by Modernism, although some modernist architects saw the Gothic tradition of the architectural form. entirely in terms of the "honest expression" of the technology of the day, and they saw themselves as inheritors of that tradition, with their use of rectangular frames and exposed iron beams.

Despite this, Gothic Revival continued to exert its influence, simply because many of its most massive projects were still being built in the second half of the century, such as Giles Gilbert Scott's Liverpool Cathedral and Washington National Cathedral (1907–1990). Ralph Adams Cram became a leading force in American Gothic Revival, with his most ambitious project, the Cathedral of St. John the Divine in New York (which he claimed to be the largest cathedral in the world), as well as the Collegiate Gothic buildings at Princeton University.[187] Cram said that "the style carved and perfected by our ancestors [has] become ours by uncontested heritage."[188]

Although the number of new neo-Gothic buildings decreased dramatically after the 1930s, they continued to be built. St. Edmundsbury Cathedral, Bury St. Edmunds Cathedral in Suffolk, was expanded and rebuilt in a neo-Gothic style between the late 1950s and 2005, adding a dominant central stone tower. Cambridge, inaugurated in 2016, combines with the neo-Gothic style of the rest of the courtyard in which it is located.[192]​.

The illustrations in Charles Knight's Pictorial Gallery of the Arts (1858) showed in detail the incorporation of the influence of modern design into the neo-Gothic. By 1872, the Gothic Revival was mature enough in the United Kingdom for Charles Locke Eastlake, an influential professor of design, to publish A History of the Gothic Revival. But the first detailed essay on the movement came half a century later, in 1928, from the field of art history, by Kenneth Clark, The Gothic Revival. An Essay. essay).[194]​ Architect and writer Harry Stuart Goodhart-Rendel") covered the revival theme appreciatively in his Slade Lectures") in 1934.[196]​[197]​ But the early-century conventional view of neo-Gothic architecture was highly dismissive, with critics writing of "the architectural tragedy of the century,"[198]​ ridiculing "the ugliness." uncompromising"[199]​ of the buildings of the period and attacking the "sadistic hatred of beauty" of its architects.[200][202]​ The 1950s saw small signs of a recovery in the reputation of revival architecture. John Steegman's study, Consort of Taste (reissued in 1970 as Victorian Taste, with a foreword by Nikolaus Pevsner), was published. published in 1950 and began a slow turn in the tide of opinion "towards a more serious and comprehensive assessment." This was followed by the founding of the Victorian Society in 1958 and, in 1963, the publication of Victorian Architecture, an influential collection of essays edited by Peter Ferriday.[204] In 2008, on the fiftieth anniversary of the founding of the Victorian Society, architecture Gothic Revival was more appreciated and some of its leading architects received academic attention and some of its best buildings, such as George Gilbert Scott's St. Pancras Station, were magnificently restored.[205] The Society's 50th anniversary publication, Saving A Century, examined half a century of losses and successes, reflected on changing perceptions towards Victorian architecture and concluded with a chapter entitled "The Victorians". Victorious*).[206]​.

• - Architectural elements and arches, in Knight's work.

• - Decorative architectural elements, in Knight's work.

• - More examples of decorative elements, in Knight's work.

• - Designs by Viollet-le-Duc.

• - Designs by Viollet-le-Duc.

• - Designs by Viollet-le-Duc.

Neo-Gothic in the German-speaking world

The Nauener Tor in Potsdam (1755), which Frederick the Great had built on British initiative, was the first neo-Gothic building in Germany. With Frederick's support, the Gothic revival received a national orientation because it was seen as connected to the medieval empire. The style was particularly prevalent in buildings in parks at the time, such as the Gothic house in Wörlitzer Park (1786-1787) or the Löwenburg "Löwenburg (Kassel)" in Bergpark Wilhelmshöhe. It was designed by Heinrich Christoph Jussow between 1793 and 1800 as an imitation of a medieval English knight's castle.

Johann Wolfgang von Goethe's essay, Von Deutscher Baukunst"), published in 1773, was of particular importance for the revival of Gothic in Germany. Goethe described the German master builder Erwin von Steinbach") as the supposed sole builder of Strasbourg Cathedral, whom he viewed as a genius, and sparked enthusiasm for Gothic architecture, until then largely despised, which came to be understood as German architecture and evaluated positively. Goethe did not know that Gothic architecture, historically, had originated in France. In the period that followed, that French origin was disputed for decades or even ignored by nationalist supporters of a supposedly "German" Gothic.

Romanticism at the turn of the century sparked an enthusiasm for medieval buildings in Germany, especially large domes and Gothic castles. An important testimony to this were the Grundzüge der gotischen Baukunst (Basic characteristics of Gothic architecture) by Friedrich Schlegel, or also the romantic landscapes of Caspar David Friedrich, Carl Gustav Carus, Julius von Leypold") and Karl Friedrich Schinkel, known as the architect of classicism. In the course of this new fashion, ancient ruins such as the Cologne Cathedral (the construction of which was resumed in 1846, completed in 1880) or of Ulm Cathedral (completion of the west tower in 1890) could be completed according to the plans of the Middle Ages. Other Gothic churches were refined, that is, freed from the subsequent changes of later stylistic stages, completed and corrected for alleged errors. The achievements used the original construction plans, so from an art historical point of view they are still (for the most part) buildings of. medieval gothic style.

An 1842 mausoleum for the general and statesman Carl von Alten erected near Hanover is mistakenly considered the first neo-Gothic brick building in northern Germany. It was designed by the Hannover city planner Georg Ludwig Friedrich Laves") and was built by Conrad Wilhelm Hase"). The building in what is today the Sundern nature reserve fell into ruins over time. However, much earlier (1803-1809) the Catholic Church of St. Helena and Andreas had already been built in a romantic neo-Gothic style in Ludwigslust in Mecklenburg according to the plans of Johann Christoph Heinrich von Seydewitz) and Johann Georg Complete Barque (1803-1809).

The existing castle ruins were tastefully rebuilt according to the English model, the Castellated Style, but these reconstructions had nothing to do with the historical form of the castles. Typical examples of this were the Hohenzollern Castle near Hechingen (rebuilt in 1846-1867 by Frederick Augustus Stüler for King William IV of Prussia, the Stolzenfels Castle in Koblenz, and other buildings of Rhine Romanticism) (the interpretation of the landscape conditions and history of the Rhine Valley in the cultural-historical period of Romanticism). An exceptionally extensive renovation and expansion of oldest castles, palaces and monasteries carried out under the Duke of Coburg Ernest I, with his neo-Gothic creations of Schloss Rosenau, Schloss Ehrenburg, Schloss Callenberg and Schloss Reinhardsbrunn"). The Schloss Friedrichshof (1889-1893), designed by Ernst von Ihne") (inspired by the Tudor style) for Empress Victoria "Victoria of the United Kingdom (1840-1901)"), is also exceptional and served as her residence during her widowhood.

• - Romantic castles.

• - Schloss Rosenau (1808-1817), rebuilt by Karl Friedrich Schinkel.

• - Ehrenburg Palace (1816-1840), redesigned by Karl Friedrich Schinkel.

• - Schloss Callenberg (1827-1842), rebuilt to be the summer residence of Ernest II.

• - Neuschwanstein (1869-1886), the work of Louis II, an eclectic mix of Romanesque, Gothic and Byzantine.

• - Kronberg Castle (1889-1893), work of the German Empress Dowager Victoria "Victory of the United Kingdom (1840-1901)").

For new churches and secular buildings in growing cities, neo-Gothic architecture was happily turned to and a new idealized architecture, the neo-Gothic style, was composed with elements from the rich heritage of existing buildings. However, due to the great distance in time, there was no deep understanding of the formal language and types of church construction can be found in neo-Gothic town halls. Outstanding examples of secular neo-Gothic buildings are the town halls of Vienna, Munich and Berlin's Köpenick district, as well as the unique ensemble of Hamburg's Speicherstadt (warehouse district).

For the interior, particularly the altars and pulpits of the new and renovated churches, elaborately carved works were created that were based on the elements of architecture, but without a model. These works were later derogatorily called Gothic cabinetmakers (Schreinergotik). Stained glass also flourished, but the new works were more realistic and naturalistic than the historical models. Many of these church furnishings were removed and destroyed again in the 1960s out of disdain for imitation styles.

The new style also affected the cemetery system. For example, the first neo-Gothic work of art in a Bavarian cemetery is the monument created by Friedrich von Gärtner and presented on November 1, 1831, at the mass grave of the Sendlingen Christmas Murder in the Old South Cemetery in Munich.[212]

During World War II, neo-Gothic buildings were subjected to massive destruction, particularly in the German-speaking world. However, almost all major neo-Gothic cathedrals were saved from collapse, although the roof beams burned in many places. An exception to this is the Nikolaikirche&action=edit&redlink=1 "Ehemalige Hauptkirche St. Nikolai (Hamburg) (not yet drafted)") in Hamburg, whose ships were still standing after the devastating bombings of "Operation Gomorrha")" in the summer of 1943, but whose ruins were demolished in 1951 despite civil protests. Only the tower remains standing at 147 m. high from the sea of houses (the Ulm Church is only 14 m. higher). It gives an idea of the size of the destroyed church, which can undoubtedly be considered one of the largest and most splendid, built solely in the neo-Gothic style (without sections from the Middle Ages).

Enthusiasm for Gothic forms waned again in the strongly nationalist Germany of the Second Empire, after it became increasingly evident that the Gothic style was not a typical German style, but came historically from France. It was believed that the typically German style sought was found in the Romanesque, whereupon the focus shifted to Romanesque and neuromanic forms. Towards the end of the century, there was a special local neo-Gothic style in Nuremberg, the Nuremberg style, which attempted to take advantage of the city's High and Late Gothic building traditions. One of the last examples in Germany was St. Paul's Church in Munich, the work of Georg von Hauberrisser and consecrated in 1906. The Church of Martinus in Olpe (consecrated in 1909) is also built in the neo-Gothic style.

• - Neo-Gothic architecture in Germany.

• - Neuschwanstein Castle bedroom.

• - Cologne Cathedral.

• - Status of the works on the Cologne Cathedral in 1824.

• - St. Matthias&action=edit&redlink=1 "St. Matthias Church (Sondershausen) (not yet drawn up)") in Sondershausen, 1905.

• - Mariahilfkirche&action=edit&redlink=1 "Mariahilfkirche (München) (not yet written)" in Munich, by Joseph Daniel Ohlmüller").

• - Helmet of the tower of the Marienkirche in Berlin (1789-1790).

Neo-Gothic in the Netherlands

Dutch Neo-Gothic can be divided into two styles, which only have in common that both were inspired by Gothic elements.

In the Netherlands, there was initially little interest in the Gothic revival, firstly because Catholics were not allowed to build new churches and were only allowed to go to church in inconspicuous buildings. Another important reason was that the Netherlands had not known real architects since the century and that, as a result, important technical skills had been lost: classicism had almost seamlessly turned into neoclassicism.

The construction world was dominated by engineers, mostly military and officials from the Ministry of Water Management. Due to the weak economy in the Netherlands, little was built in those years anyway, but there was also little support among potential customers. One of those few clients was the crown prince who had grown up in England, and later King William II. He had a residence built in Tilburg (Paleis-Raadhuis") and in The Hague a Gothic hall behind the palace in Kneuterdijk"), renovated in 1816-1817, as well as a row of houses and a church in Nassaulaan.

Only from the 1840s onwards is there a tentative beginning of neo-Gothic construction with mainly factories (in Delft), steam pumping stations (around the Haarlemmermeer), station buildings (Valkenburg station) and water towers. This early neo-Gothic (Vroege neogotiek) is also known as William II Gothic (Willem II-gotiek) (ca. 1830-1860). The characteristic of this style is that the construction was still essentially neoclassical and that the neo-Gothic was reflected almost exclusively in the decorative use of Gothic forms such as pointed arches and pinnacles. The constructive foundations of Gothic were barely studied and less understood, which is why when designing churches they never had vaults, at most straw and stucco vaults, from which the style takes another nickname, stucco Gothic (stukadoorsgotiek).

Another important difference from the later Gothic revival is that the Gothic William II was not tied to a particular religious or social movement. Where true neo-Gothic would become almost exclusively a Catholic style, William II Gothic was applied to Protestant and Catholic churches and even synagogues. Architects such as Theo Molkenboer&action=edit&redlink=1 "Theo Molkenboer (architect) (not yet written)"), H.J. van den Brink"), W.J. van Vogelpoel") and A. van Veggel") worked in both neoclassical and William II Gothic styles, and often designed Protestant and Catholic churches. The Zuiderkerk&action=edit&redlink=1 "Zuiderkerk (Rotterdam) (not yet redacted)") in Rotterdam, destroyed in 1940, was a highlight of this style. Important surviving examples are the reformed church&action=edit&redlink=1 "Hervormde kerk (Zeist) (not yet drafted)") by architect Nicolaas Kamperdijk") in Zeist and the Catholic church De Papegaai") in Amsterdam.

Neo-Gothic in Belgium

The areas that would later form the Kingdom of Belgium in 1830 had an important tradition of Gothic building in the late Middle Ages. Particularly in civil and urban architecture (town halls, guild houses, etc.), buildings such as the Leuven City Hall and the Brussels City Hall were created in the early 19th century, which will be internationally outstanding examples. The Gothic building style was used for religious architecture well into the 20th century. It is therefore not surprising that the style has undergone a major revival, especially after the Belgian revolution. In certain areas, people quickly spread that style from the glorious past as a national style. The Belgian revolution was also a victory for the Catholic Church. Young Belgium was a homogeneous Catholic nation, albeit with a small but influential liberal and anticlerical elite. Because Gothic was preeminently the style of pre-Reformation Catholic churches and monasteries, the revival of the style was sometimes accompanied by a conservative Catholic revival. That strong philosophical and political association was certainly not clearly present at the beginning.

The first traces of neo-Gothic or neo-medieval architecture in Belgium can be placed in the spirit of early romanticism. For example, the rulers Albert of Saxe-Teschen and his wife Maria Christina of Austria "Mary Christina of Austria (1742-1798)") had already abandoned the romantic landscape park of Laeken Castle in the 1780s by building a ruined Gothic castle that has not been preserved. It was a style of romantic fantasy that mainly wanted to evoke the picturesque and mysterious of medieval architecture. It was just a folie, a fake medieval building that was intended to decorate the garden. The romantic and picturesque spirit also characterizes all other early examples of neo-Gothic architecture. It is a very decorative style that freely combines elements and motifs from different periods and schools of Gothic. This romantic style was also known as the "troubadour style."

The first achievements in this style were made by the Ghent architect Jean Baptiste Pison. Around 1800 he built the castle house of Moregem near Oudenaarde. In the first decade of the 20th century, Pisson and François Verly renovated Wissekerke Castle (1803-1811), giving it a romantic neo-Gothic appearance. They were clearly inspired by early English examples such as Strawberry Hill. The view was as romantic and picturesque as possible. Otherwise, Verly built in the neoclassical style, but he also made romantic landscapes in watercolor. Other early creations are the decoration of the "Gothic hall" of the Brussels City Hall (1825) and the beautiful estate "Les Masures" (1835-1837) in Pepinster.[213]​ Of this large country house, built in a neo-Tudor style, clearly inspired by the English by the architect Auguste Marie Vivroux (1795-1867) for the industrialist Edouard de Biolley, unfortunately only the entrance gate with a picturesque bridge over the Vesder remains.[214]​.

Neo-Gothic in Italy

The Italian neo-Gothic follows the French. Among its first examples it is necessary to remember the Pollenzo Castle, on the homonymous estate in Savoy. There, in an early residence of the 19th century, King Carlo Alberto established a modern agricultural estate, expanding the original construction. The result was a castle in which the most varied styles are combined, from neo-Romanesque to neo-Gothic, combined in the new version of the century directed by Pelagio Palagi and Ernesto Melano"); neo-Gothic is also the church of San Vittore connected to it. The province of Cúneo has a rich neo-Gothic heritage, not only in Pollenzo, but in Busca, Novello, Envie and Dogliani.

Other important construction sites open for the completion of the main Italian Gothic churches, such as those for the construction of the cold facades of the Florentine churches of Santa Croce "Basilica of the Holy Cross (Florence)" (1854-1863) and Santa Maria del Fiore (1866-1887), designed respectively by Niccolò Matas" and Emilio De Fabris"). Still at the end of the century, the façade of the Cathedral of Naples (1877-1905), designed by Errico Alvino"), was completed, while the Gothic façade of the Cathedral of Arezzo (1901-1914) is from the beginning of the century. A singular case is that of the Cathedral of Milan, whose construction, begun in 1386, was completed only in the century: most of the towers and architectural decorations date from the period between the centuries and and are resumed, only for consistency with the original design, in Gothic style. The façade, work of Carlo Amati"), made in 1806-1813 in the Napoleonic era, is the most notable element of the Gothic tradition.

• - Neo-Gothic facades in large unfinished churches.

• - Facade of the Milan Cathedral (1806-1813), by Carlo Amati"), a Gothic façade built in the century.

• - Facade of the Santa Croce "Basilica of the Holy Cross (Florence)") (1854-1863), Florence, designed by Niccolò Matas") from 1837. Gaetano Baccani is responsible for the bell tower (1847).

• - Cathedral of Santa María del Fiore (1866-1887), work of Emilio De Fabris").

• - Facade of the Cathedral of Naples (1877-1905), project by Errico Alvino").

• - Arezzo Cathedral (1901-1914).

In Italy, throughout the century, neo-Gothic survived until the time of Liberty as a more eclectic style: this is the case, for example, of Mackenzie Castle, the sumptuous residence built according to a project by Gino Coppedè between 1893 and 1905. The castle is presented as an extravagant mix of styles and architectural references from the past: significant are the references to the Gothic palaces of medieval Tuscany, such as the Palazzo Pubblico "Palazzo Pubblico (Siena)") in Siena and the Palazzo Vecchio in Florence.

Neo-Gothic also became the style of Protestant churches built in Italy in the 19th century, after freedom of worship was granted; The Gothic style, in fact, austere and minimalist, was well suited to the liturgies of the Reformed churches.

Neo-Gothic in Poland

In Poland, the most famous architects who created neo-Gothic buildings were: Piotr Aigner (1756-1841), Henryk Marconi") (1792-1863), Franciszek Jaszczołd") (1808-1873), Feliks Księżarski") (1820-1884), Alexis Langer") (1825-1904), Konstanty Wojciechowski&action=edit&redlink=1 "Konstanty Wojciechowski (1841-1910) (not yet written)", Józef Pius Dziekoński") (1844-1927), Ludwig Schneider") (1855-1943), Teodor Talowski") (1857-1910) and Jan Sas-Zubrzycki") (1860-1935).

One of the first neo-Gothic churches in Poland was the Wielącza Church, near Zamość, built in 1821-1832 according to a design by Wacław Ritschel).

Among secular buildings, the Pac Palace in Dowspuda") from 1820-1823[228] can be mentioned as one of the first examples of neo-Gothic architecture. Other examples of neo-Gothic residential architecture are the castle in Kórnik"), the railway station in Nowe Skalmierzyce"), the palace in Leśkowa") in the Elizabethan neo-Gothic style, the Palace in Landwarów"), the Palace in Czerniatyn") and the Palace in Kosava") (1838). At the end of the century, the neo-Gothic style was often used in the decoration of bourgeois houses (for example, the Ławrynowicz House in Warsaw or the building of the Warsaw Rowing Society in Warsaw").

• - Neo-Gothic in Poland.

• - Church of St. Martin in Krzeszowice, project of 1832, construction of 1832-1844, Karl Friedrich Schinkel.

• - Palace in Kosava") (1838).

• - Kamenz Castle (1838-1872), according to plans by Karl Friedrich Schinkel.

• - Castle in Kórnik") (1843-1860), by Karl Friedrich Schinkel and Marian Cybulski") with the participation of Tytusa Działyńskiego").

• - Tyszkiewicz Palace in Landwarów") (now Lithuania) (1850-1899).

• - Nowe Skalmierzyce railway station") (1906-1909).

One of the variants of neo-Gothic that became popular in Poland was the so-called Vistula-Baltic style (Styl wiślano-bałtycki), which was temporarily considered the "Polish national style." This concept was developed in the 1860s and 1870s by Kraków historians Władysław Łuszczkiewicz") and Józef Łepkowski"), although their theoretical concepts met with a lively response among Mazovian researchers.

In the 1880s, Karol Matuszewski"), who promoted the Vistula-Baltic style, addressed the problems of Gothic as a Polish national style. That style was particularly popularized by the competition for the design of the Cathedral of St. Michael the Archangel and St. Florian the Martyr in Warsaw, in which the regulations stipulated that the style of the temple should be arched in the so-called Vistula-Baltic shadow. A project by Józef Pius was chosen Dziekoński. Another important project in the style was the Church of the Assumption of the Blessed Virgin Mary in Łódź") (1887-1897), designed by Konstanty Wojciechowski (1841-1910).

Neo-Gothic in Central and Eastern Europe

It was above all in central and eastern Europe, divided into multiple states and subjected to the tensions that would eventually produce German unification and the expansion of the Austro-Hungarian Empire in the Balkans, where neo-Gothic became the expression of a "national" art. In Germany, the most famous neo-Gothic architects were Karl Friedrich Schinkel and Ernst Friedrich Zwirner.[229] The most significant works were the town hall houses (Rathaus), in addition to the push for the completion of numerous religious buildings that had not been completed for centuries, such as the Cologne Cathedral. In the south, Bavaria, the construction promoted by Luis II stands out. In the Austro-Hungarian Empire, neo-Gothic buildings such as the Votivkirche in Vienna were built ex novo. The Parliament of Budapest (1885-1904) was a grandiose construction project of the Hungarian government that had begun in 1867 and was chosen in an international competition. The style was also adopted in some buildings of the Russian Empire.

• - Hungary.

• - Parliament of Hungary (1885-1904) in Budapest.

• - Örökimádás Templom (Church of Perpetual Adoration), Budapest.

• - Vajdahunyad Castle in Budapest.

• - Andrássy Palace in Tiszadob").

• - Palace of Countess Teréz Brunszvik") of Korompa in Martonvásár.

• - Church of the Immaculate Conception of Fót, with Islamic and Byzantine elements.

• - Nádasdladány Mansion") in Nádasdladány.

• - Neo-Gothic in central and eastern Europe.

• - Vienna Votivkirche.

• - Status of the Votivkirche works in Vienna in 1866.

• - Schadau Castle"), Thun, Switzerland.

• - Church of Saint Ludmila in Prague, by Josef Mocker (1888-1892).

• - Co-Cathedral of Saints Peter and Saints "Co-Cathedral of Saints Peter and Saints (Osijek)"), Osijek, Croatia (1894-1900).

• - Lutheran Church of the Savior (1899), Baku, Azerbaijan.

• - Cathedral of the Mother of God of Batumi, Georgia (1898-1903).

• - Cathedral of Saint Nicholas of kyiv, Catholic, by Vladislav Gorodetsky (1899-1909).

• - Church of St. Alexander Nevski (Peterhof) "Church of St. Alexander Nevski (Peterhof)"), by Karl Friedrich Schinkel (1829-1834).

• - Cathedral of Saint Paul of the Russe Cross") (Bulgaria), Catholic, designed by the Italian architect Valentino (1890).

• - Iași Palace of Culture (Romania), by I.D. Berindei") (1906-1925).

• - New Peterhof Station, 1857, Saint Petersburg, Russia.

• - Cathedral of the Immaculate Conception in Moscow, Russia, an example of Gothic brick revival.

Neogothic in Spain

The neo-Gothic style arrived in Spain at the end of the century; finishing under his criteria the facades of some medieval cathedrals, such as that of Barcelona, ​​that of Cuenca "Cathedral of Cuenca (Spain)") (Vicente Lampérez) and that of Bilbao or the remodeling of San Jerónimo el Real (where neo-Mudejar and neo-Elizabethan elements are also used) and raising others, such as that of San Sebastián. With more freedom it was used in private homes such as the Sobrellano Palace (Comillas), the Palace of the Marchioness of Cartago")[230]​ (Ciudad Rodrigo) or the Laredo Palace (Alcalá de Henares, also mixed with neo-Mudejar elements).

Particularly in Catalonia, the neo-Gothic was promoted by the emerging nationalist consciousness of the local bourgeoisie, interested in connecting with the medieval past (Barrio Gotic de Barcelona, ​​Catalan modernism).[231]​.

Other buildings began to be conceived with neo-Gothic approaches but were completed with very different assumptions, under the influence of nascent Spanish modernism: this was the case with the first model for the Sagrada Familia in Barcelona, ​​by Francisco del Villar, which Gaudí radically transformed (Gaudí himself, in the Episcopal Palace of Astorga, starting from the neo-Gothic, introduced elements that can be called «modernist "Modernism (art)")»); or with part of the initial approach of the Almudena Cathedral in Madrid, which after its successive phases of construction became eclectic architecture to fit with the more neoclassical Madrid environment.

• - Neogothic in Spain.

• - Sagrada Familia project by Antoni Gaudí.

• - San Jerónimo el Real de Madrid (rebuilt by Narciso Pascual Colomer in 1879-1882).

• - Convento de las Salesas (Barcelona) "Church and convent of las Salesas (Barcelona)") (1877-1885), work of Joan Martorell i Montells.

• - Sobrellano Palace in Comillas, work of Joan Martorell (finished in 1888).

• - Casa Botines in León, by Gaudí (1891-1892).

• - Cathedral of the Good Shepherd of San Sebastián, by Manuel Echave and Ramón Cortázar (1889-1897).

• - Main façade of the church of Santiago el Mayor in Vigo, by Manuel Felipe Quintana (1896-1907).

• - Facade of the Barcelona Cathedral, work of Josep Oriol Mestres (1882-1913).

• - Episcopal Palace of Astorga by Antoni Gaudí (1889-1915).

• - Church of the Holy Cross "Iglesia de la Santa Cruz (Madrid)"), in Madrid, (1889-1902).

• - Palace of the Marchioness of Cartago in Ciudad Rodrigo.

• - Interior of the Almudena cathedral in Madrid.

Neo-Gothic in Portugal

In Portugal, the Gothic style dominated architecture in the period between the 20th century and the beginning of the 20th century. In this last phase, exotic Portuguese Gothic became known as the Manueline style. As in other European countries, from the century onwards, several of the old Gothic buildings were restored and often partially recreated, in a more or less imaginative way, in the neo-Gothic style or, in the specific case of Portugal, in the neo-Manueline style. Thus, there were several interventions in buildings such as the Belém Tower, the Batalha Monastery and the Jerónimos Monastery, among others, which attempted to recover the ancient brilliance of these emblematic monuments. The Jerónimos Monastery, for example, underwent a major restoration since 1867, in which the bell tower and the former monks' dormitory were completely remodeled in the neo-Manueline style.

In addition, there were also buildings built from scratch in the neo-Gothic and/or neo-Manueline style from the first half of the century, following the romantic spirit that prevailed at that time. Many of those early experiences also incorporate oriental and exotic touches, with quotes from Islamic architecture. Important examples are the Monserrate Palace (after 1858) and the Pena Palace (after 1838), both in Sintra, the latter being a whimsical mix between the neo-Gothic, the neo-Manueline and the neo-Islamic.

Neo-Manueline became one of the favorite styles in Portugal, giving rise to works such as the Palace Hotel de Busaco (1888-1907), the Quinta da Regaleira, the Palace of the Counts of Castro Guimarães in Cascais (around 1900), the Rossio Train Station, the town halls (Paços do Concelho) of Sintra and Soure, among many other buildings. The strict neo-Gothic is represented in fewer buildings. A notable example is the Santa Justa elevator (1898-1902), in Lisbon, an iron structure decorated with Gothic motifs.

• - Neo-Gothic in Portugal.

• - Hall of the tombs of the Alcobaza monastery (c. 1770), Alcobaza.

• - Neo-Gothic chapel in the gardens of the Monserrate palace (c. 1790), Sintra.

• - Sanctuary of Nossa Senhora do Alívio, Vila Verde (1872-1993).

• - Chapel of the Pestanas (1878), Porto.

• - Chapel of Our Lady of Victories "Chapel of Our Lady of Victories (Furnas)") (1886), San Miguel Island "San Miguel Island (Azores)").

• - Parish Church of Reguengos de Monsaraz (1887-1901).

• - Church of Santo Condestable") (1946-1951), Lisbon.

• - Santa Justa Elevator (1900-1902), Lisbon.

• - Lello and Irmão Bookstore (1906), Porto.

• - Medieval Tower of Porto") (1940).

• - The neo-Manueline Rossio train station (1886-1890), in Lisbon.

• - Neo-Gothic palaces in Portugal.

• - Pena National Palace (1838-1885) (Sintra).

Neogothic in Brazil

Neo-Gothic became popular in Brazil near the end of the reign of D. Pedro II, especially from the 1880s onwards. The three oldest neo-Gothic churches in Brazil are the Iglesia de Nossa Senhora do Amparo&action=edit&redlink=1 "Iglesia de Nossa Senhora do Amparo (Teresina) (not yet redacted)") in Teresina, in Piauí (1852), the Matriz de Nossa Senhora da Purificação, in Bom Princípio")[232]​ (RS) (1871), the Church of the Sanctuary of Caraça, in Minas Gerais, built between 1876 and 1883 to replace a colonial church and the Basilica of the Sacred Heart of Jesus in Diamantina") (MG) (1884-1889), the last two projects of Father Julio Clavelin. Another pioneering neo-Gothic church is the Petrópolis Cathedral, begun in 1884 but completed around 1925, which houses the tombs of the Emperor and his family. In Rio de Janeiro "Rio de Janeiro (city)"), then the capital, many buildings of this style were built starting in the 1880s, such as the picturesque Fiscal Island Palace, built on an island in Guanabara Bay between 1881 and 1889, the Church of the Immaculate Conception in Botafogo "Botafogo (neighborhood)") (1888-1892), the Methodist Church of Catete (1886) and others. Neo-Manueline, a Portuguese variant of neo-Gothic, appears for the first time at that time in the Royal Portuguese Reading Cabinet, built between 1880 and 1887 in the center of Rio.

Neo-Gothic was widely used in all types of secular and military buildings, including private homes, but was particularly popular in religious buildings. In the capital São Paulo "São Paulo (city)"), the first neo-Gothic church was the Lutheran Church of Martinho Luther (1906-1908), followed a few years later by the monumental Sé Cathedral,[233]​ built from 1913 and inaugurated only in 1954. Between 1930 and 1954, the Church of Santa Ifigênia "Basilica del Santísimo Sacramento (São Paulo)"), also in neo-Gothic style, was the city's cathedral. Other neo-Gothic cathedrals include the Cathedral of Saints (1909-1967), the Cathedral of Boa Viagem in Belo Horizonte (started in 1913 and completed in 1932), the Cathedral of Vitória (1920-1970) and others. Late neo-Gothic churches began to be built until at least the 1930s, such as the Metropolitan Cathedral of Fortaleza, which began in 1939 and was inaugurated only in 1978.

In Rio Grande do Sul, the neo-Gothic style was the preferred style for the construction of an infinite number of chapels and temples, especially in the regions of Italian and German colonization, between the end of the century and the beginning of the . Among these there are interesting examples: the Cathedral of Caxias do Sul, begun in 1895 as a parish church, and the Chapel of the Holy Sepulchre"), in the same city, the Mother Church of NS de Lourdes in Flores da Cunha "Flores da Cunha (Rio Grande do Sul)"), the Cristo Rei Church in Bento Gonçalves "Bento Gonçalves (Rio Grande do Sul)"), the Mother Church of São Pedro in Garibaldi, and the Matriz de São Luiz Gonzaga, in Veranópolis. The German-colonized city of Santa Cruz do Sul also has a cathedral with a vigorous and original interpretation of the Gothic style, built between 1928 and 1936. Another notable example in the same region is the Church of São Sebastião Mártir in Venâncio Aires. Other important examples are the churches built by Spanish Carmelites, one dedicated to Nossa Senhora do Carmo in Uruguaiana, another of the same invocation in Río Grande, and the Church of Santa Teresinha"), in Porto Alegre, built between 1924 and 1931, all following the same patterns and purity of lines.

Neogothic in Mexico

The neo-Gothic will develop in Mexico because its main objective will be to reclaim the church as the bastion of faith and as the entity that disseminates social values, in the face of the clerophobic and supposedly harmful ideas of the liberal governments "Liberal Party (Mexico)"). Its use, moreover, will coincide with the search for a national architectural identity, a search that will react to neoclassicism, fully established in the country.[237]​.

The fulfillment of this desire for vindication will find its best moment in the Porfiriato, during which a tacit agreement between the Church and the State will be sustained, which will make possible the remodeling and erection of numerous temples throughout the country.[237]​ which will be added to the many more that will be built in the new dioceses, products of the reorganization of the ecclesial territory.[236]​ The general conditions to which the development will be faced of the neo-Gothic will be: the growth of many cities and their subsequent beautification; the emergence of new devotions, such as the Sacred Heart of Jesus, and the concept of atonement "Atonement (religion)") for the evils of the world, along with the erection of temples for such purposes; and the reinforcement of the dedication of the Virgin of Guadalupe "Our Lady of Guadalupe (Mexico)") through her pontifical coronation on October 12, 1895.[236]​.

The three main disseminating agents of neo-Gothic in Mexico will be:.

1. • the Academy, mainly the Academy of Architecture of San Carlos,[237]​ in which, as a result of its financial reorganization in 1834, foreign professors will begin to teach classes and the opportunity for exchanges will be provided to European countries, especially France;[238]​.

2. • foreign architects and engineers, who will come to the country to carry out certain assignments (328) or will see in it the possibility of developing their professional career, such as Adamo Boari, who will be in charge of building the Expiatory Temple of the Blessed Sacrament, in Guadalajara "Guadalajara (Mexico)"), following the construction of the Orvieto cathedral;[238]​.

3. • and the work of builders and master builders, who, within towns or small cities, will use the neo-Gothic style "more at the suggestion of parish priests and bishops than on their own initiative",[237]​ a situation such as that of Ceferino Gutiérrez Muñoz, who will design the towers of the parish of San Miguel Arcángel in San Miguel de Allende.[236]​.

Of all, the last factor will be the determining factor for the development of the neo-Gothic, since through it the influence of the internal dynamics of the Church will become more possible, where the style was assumed as an aspiration and a symbol of an ecclesiastical recovery; The development of neo-Gothic responded to that context more than to the style's own evolution in the country.[239]​.

Asia

• - Cathedral of Our Lady of the Assumption (Jakarta) "Cathedral of Our Lady of the Assumption (Jakarta)"), Indonesia.

• - Minor Basilica of San Sebastian "Basilica de San Sebastian (Manila)"), Manila, Philippines (1888-1891).

• - Saint Joseph's Cathedral in Hanoi (?-1886).

Other areas

United Kingdom and British colonies.

• - United Kingdom.

• - Salvator Mundi, stained glass window by Edward Burne-Jones.

• - Interior of Fonthill Abbey in 1823.

• - Detail of the interior of the Oxford Natural History Museum.

• - St Mary's Church in Frittenden.

• - Interior of All Saints")[245]​ from Margaret Street (London).

• - Central chapel of Abney Park Cemetery.

• - Manchester Town Hall.

• - John Rylands Library in Manchester.

• - St. Mark's Church, Royal Tunbridge Wells"), by Robert Lewis Roumieu (1866).

• - The Lady Chapel of Liverpool Cathedral, designed by Giles Gilbert Scott and supervised by G F Bodley").

• - Water Tower of Lake Vyrnwy") (Wales).

• - Tower Bridge over the Thames, in London.

• - Town Hall, Manchester.

• - British colonies.

• - Notre-Dame Basilica of Montreal, 1824.

• - Parliament Hill in Ottawa.

• - Basilica of Our Lady Immaculate (Guelph) "Basilica of Our Lady Immaculate (Guelph)") (1875-1883), Ontario, Canada.

• - Cathedral Basilica of Our Lady (Ottawa) "Cathedral Basilica of Our Lady (Ottawa)") (1841-1846).

• - USA.

• - Trinity Church on the Green") in New Haven, from Ithiel Town, 1812-1814.

• - Collegiate Gothic") from Boston College.

• - Reynolds Club") on the University of Chicago campus.

• - Old Louisiana State Capitol") in Baton Rouge.

• - St. Matthew's German Evangelical Lutheran Church") (1872), by John Henry Devereux, in Charleston.

• - St. Patrick's Cathedral (New York).

• - Washington National Cathedral.

• - PPG Place in Pittsburgh.

• - The so-called "carpenter gothic")" (carpenter gothic"))[246]​ in the Unitarian Universalists church of San Mateo, California"), 1905, with the typical abat-sons") on the tower.

• - American Gothic House in Eldon (Iowa), used as a background for the painting American Gothic, by Grant Wood, 1930.

• - Rockefeller College"), Princeton, USA.

• - The Cathedral of St. John the Baptist&action=edit&redlink=1 "Cathedral of St. John the Baptist (Savannah, Georgia) (not yet drafted)"), Savannah (Georgia "Georgia (United States)").

• - PPG Place in Pittsburg.

• - Cyprus.

• - Our Lady of Lysi").

Latin America

• - Argentina.

• - Cathedral of La Plata "Cathedral of the Immaculate Conception (La Plata)"), City of La Plata (1884-1999).

• - Church of San Alfonso "Iglesia de San Alfonso (Salta)"). Jump.

• - Cathedral of San Isidro "Cathedral of San Isidro Labrador (San Isidro)") (?-1898), in San Isidro "San Isidro (Buenos Aires)").

• - University of Buenos Aires, Faculty of Engineering, Las Heras Headquarters"). Autonomous City of Buenos Aires.

• - Basilica of Our Lady of Luján, Province of Buenos Aires (1890-1935).

• - Cathedral of Our Lady of Nahuel Huapi (1944-1947), Bariloche, by Alejandro Bustillo.

• - Basilica María Auxiliadora y San Carlos (Buenos Aires) "Basilica María Auxiliadora y San Carlos (Buenos Aires)") (1900-1910).

• - Colombia.

• - Parish of Our Lady of Chiquinquirá "Church of Our Lady of Chiquinquirá (Bogotá)"), Bogotá.

• - Basilica of Our Lady of Lourdes "Basilica of Our Lady of Lourdes (Bogotá)"), Bogotá.

• - Las Lajas Sanctuary in Ipiales, department of Nariño.

• - Church of Our Lady of Perpetual Help "Church of Our Lady of Perpetual Help (Medellín)"), Medellín.

• - Rafael Uribe Uribe Palace of Culture, Medellín.

• - Church of Our Lady of the Rosary "Church of Our Lady of the Rosary (Donmatías)") in Donmatías, Antioquia.

• - Chili.

• - Church of the Infant Jesus of Prague, Independencia, Santiago.

• - Basilica of Our Lady of Perpetual Help. Santiago.

• - Basilica of the Savior, Santiago.

• - Church of Mary Help of Christians of National Gratitude, Santiago.

• - San Francisco de Castro Church "Church of San Francisco (Castro)"). Chiloé.

• - Ecuador.

• - Basilica of the National Vote in Quito.

• - Church of Santa Teresita "Iglesia de Santa Teresita (Quito)") in Quito.

• - Basilica of Our Lady of La Merced in Guayaquil.

• - Cuenca Cathedral "Cathedral of Cuenca (Ecuador)").

• - Basilica of El Cisne, province of Loja.

• - El Salvador, Uruguay.

• - Cathedral of Santa Ana "Cathedral of Santa Ana (El Salvador)"), El Salvador.

• - Virgen del Carmen y Santa Teresita"), popularly known as the Church of the Carmelites in Montevideo, Uruguay.

• - Peru.

• - Cristo Pobre Chapel, in Jauja.

• - Cathedral of San Juan Bautista, in Iquitos.

• - Venezuela.

• - Basilica Menor Santa Capilla, Caracas.

• - Chapel of Our Lady of Lourdes "Chapel of Our Lady of Lourdes (Caracas)"), Caracas.

• - Palace of the Academies, Caracas.

• - Christian Amalvi, Le Goût du moyen âge, (Paris: Plon), 1996. The first French monograph on French Gothic Revival.

• - "Le Gothique retrouvé" avant Viollet-le-Duc. Exhibition, 1979. The first French exhibition concerned with French Neo-Gothic.

• - Hunter-Stiebel, Penelope, Of knights and spiers: Gothic revival in France and Germany, 1989. ISBN 0-614-14120-6.

• - Phoebe B Stanton, Pugin (New York, Viking Press 1972, ©1971). ISBN 0-670-58216-6.

• - Summerson, Sir John, 1948. "Viollet-le-Duc and the rational point of view" collected in Heavenly Mansions and other essays on Architecture.

• - Sir Thomas G. Jackson"), Modern Gothic Architecture (1873), Byzantine and Romanesque Architecture (1913), and three-volume Gothic Architecture in France, England and Italy (1915).

• - Wikimedia Commons hosts a multimedia gallery on Neo-Gothic Architecture.

• - Victoria and Albert Museum Style Guide.

• - Basilique Sainte-Clotilde, Paris.

• - Canada by Design: Parliament Hill, Ottawa at Library and Archives Canada.

• - Books, Research and Information.

• - Gothic Revival in Hamilton, Ontario Canada.

• - Proyecto Documenta's entries for neo-Gothic elements at the Valparaíso's churches.

• - Toronto's Sanctuaries: Church Designs by Henry Langley Archived July 3, 2010 at the Wayback Machine.

The emergence of this historicist movement, with a renewed fervor towards nationalism, was one of the first stumbles that industrial society made. When trying to make a reinterpretation of a medieval style, forged in a completely advanced society, the very essence of Gothic architecture was forgotten.

Although many treatises confront the different situations of the neo-Gothic, due to different territorial situations and using as an example the main discussion of the time that pitted John Ruskin and its conservation against the logic of the restoration proposed by Viollet-le-Duc, almost the only point that these writers agreed on was that they both spoke of not losing the essence of the movement. When Ruskin in The Seven Lamps of Architecture[10]​ proposes the "Lamp of Truth", where it "Illuminates architecture in the face of two deceptions, one of a structural type, where the structure does not fulfill its function and those of texture where the materials cannot appear to be other, nor where the ornaments are built with molds", he is dealing precisely against the principles of this pseudo style, since it fails to comply with this premise, neo-Gothic architecture often imposes elements Structural elements that in medieval civilization were essential resources for these constructions, solely to give it this ideal of beauty that Gothic architecture proposed, since with the development of iron, for example, large buttresses could have been avoided or the buttresses themselves, almost the main element of all Gothic construction, could have been replaced with other elements that fulfilled that same function. This guideline was somewhat the one proposed by Viollet-le-Duc when in his Raisoned Dictionary of Architecture[11]​ he spoke about the logic of restoration and presented it with a whole process ahead, in which he said that an architect "Must act like a skilled and experienced surgeon, who only touches an organ after having acquired complete knowledge of its function, and after having foreseen the immediate and future consequences of the operation. If you act by chance, you had better abstain. "It is better for the sick person to die than to kill him."

These two writers, with completely different realities and schools and always opposed by their ideals, agree on this issue, where the essence of architecture had to prevail over any change in society, or better not to intervene since it would cause its destruction. In some way this is what happened with pseudo-Gothic architecture, since many of the works created during this period try to offer a false ideal of beauty, camouflaged behind a Gothic façade, and losing the very spirit of this architecture, which proposed a game of sensations that until now had never been put into play, based on the interpretation of the material they had at that time, which was stone, but which were not typical of an industrial civilization, where new materials could propose a range of new conditions, to solve the same problems with approaches more in line with the period.

The rise of evangelicalism in the early 19th century saw the birth in England of a reaction in the High Church movement that sought to emphasize the continuity between the established Church and the pre-Reformation Catholic Church.[12] Architecture, in the form of Gothic revival, became one of the main weapons in the arsenal of the high church. The Gothic revival also ran in parallel and was based on "medievalism", which had its roots in antiquarian concerns for survivals and curiosities. As “industrialization” progressed, a reaction against machine production and the emergence of factories also emerged in society. Proponents of the picturesque, such as Thomas Carlyle and Augustus Pugin, took a critical view of industrial society and portrayed pre-industrial medieval society as a golden age. For Pugin, Gothic architecture was impregnated with Christian values ​​that had been postponed by classicism and that were being destroyed by industrialization.[13]​.

The Gothic revival also acquired political connotations; The neoclassical, "rational" and "radical" style was seen as associated with republicanism and liberalism (as evidenced by its use in the United States and, to a lesser extent, in republican France), the neo-Gothic, more spiritual and traditional, was associated with monarchism and conservatism, which is reflected in the choice of style to reconstruct the government centers of the British Parliament of the Palace of Westminster (1840-1860) in London, the Canadian Parliament Buildings in Ottawa (1859-1876) and the Hungarian Parliament Building (1885-1904) in Budapest.[14]​.

In English literature, architectural neo-Gothic and classical romanticism gave rise to the genre of the Gothic novel, beginning with The Castle of Otranto (1764) by Horace Walpole,[15] and inspired a century-long genre of medieval poetry that derived from Ossian's pseudo-bardic poetry. Poems such as Lord Alfred Tennyson's Idylls of the King recast specifically modern themes in medieval settings of Arthurian romance. In German literature, the Gothic revival also had a basis in literary fashions.[16]​.

La arquitectura gótica había comenzado en la basílica de Saint Denis, cerca de París, y en la catedral de Sens en 1140[17]​ y terminó con un último florecimiento a principios del siglo con edificios como la capilla de Enrique VII en Westminster.[18]​ Sin embargo, la arquitectura gótica no había desaparecido por completo en el siglo , sino que se ejecutaba lentamente en la construcción de algunas catedrales en curso; y también en las universidades de Oxford y Cambridge, y en la construcción de iglesias en muchos de los distritos rurales cada vez más aislados de Inglaterra, Francia, Alemania, la Mancomunidad de Polonia-Lituania y España.[19]​ La catedral de San Columbano (completada en 1633) fue una importante nueva edificación de estilo gótico perpendicular.[20]​.

En Bolonia, en 1646, el arquitecto barroco Carlo Rainaldi también eligió unas bóvedas góticas (completadas en 1658) para la basílica de San Petronio, iglesia que había estado en construcción desde 1390; allí, el contexto gótico del edificio anuló las consideraciones sobre si era pertinente completarla en el modo arquitectónico entonces actual. Guarino Guarini, un monje teatino del siglo , activo principalmente en Turín, reconoció el «orden gótico» como uno de los principales sistemas de arquitectura y lo utilizó en su práctica profesional.[21]​.

Del mismo modo, la arquitectura gótica sobrevivió en algunos entornos urbanos durante el final del siglo , como se muestra en Oxford y en Cambridge, donde algunas añadidos y reparaciones de los edificios góticos se consideraron más acordes con el estilo de las edificaciones originales que el entonces barroco contemporáneo. La Tom Tower de sir Christopher Wren para la Christ Church, en la Universidad de Oxford[23]​ y, después, las torres de la fachada oeste de la abadía de Westminster, de Nicholas Hawksmoor, diluyeron los límites entre lo que se llama «supervivencia gótica»» y el neogótico.[24]​ Por toda Francia, en los siglos y , se continuaron construyendo iglesias como, San Eustaquio "Iglesia de San Eustaquio (París)") en París, que seguían siendo formas góticas envueltas en detalles clásicos, hasta la llegada de la arquitectura barroca.[25]​.

Durante el auge del romanticismo, a mediados del siglo , entre los conocedores influyentes surgió un mayor interés y conciencia de la Edad Media, lo que creó una aproximación más apreciativa de las artes medievales seleccionadas, comenzando con la arquitectura eclesiástica, los monumentos de las tumbas de personajes reales y nobles, las vidrieras y los manuscritos iluminados del gótico tardío. Otras artes góticas, como los tapices y la metalistería, continuaron siendo ignoradas como bárbaras y rudimentarias; sin embargo, las asociaciones sentimentales y nacionalistas con las figuras históricas fueron tan fuertes en este renacimiento temprano como las preocupaciones puramente estéticas.[26]​.

Los románticos alemanes (incluidos el filósofo y escritor Goethe y el arquitecto Karl Friedrich Schinkel) comenzaron a apreciar el carácter pintoresco de las ruinas —«pintoresco» se convirtió en una nueva cualidad estética—, y esos efectos suaves del tiempo que los japoneses llaman wabi-sabi y que Horace Walpole independientemente admiraba, ligeramente irónico, como «el verdadero óxido de las guerras de los barones». Los detalles del «Gothic» de la villa Twickenham de Walpole, Strawberry Hill House comenzada en 1749, apelaron a los gustos rococó de la época,[27]​ y fueron seguidos bastante rápidamente por James Talbot en la Lacock Abbey, en Wiltshire.[28]​ En la década de 1770, arquitectos completamente neoclásicos como Robert Adam y James Wyatt estaban ya preparados para incorporar detalles góticos en salones, bibliotecas y capillas y, para William Beckford en Fonthill en Wiltshire, una visión romántica completa de una abadía gótica.[31]​[32]​.

Algunos de los primeros ejemplos arquitectónicos de los revividos se encuentran en Escocia. Inveraray Castle"), construido a partir de 1746 para el Duque de Argyll"), con la colaboración en el diseño de William Adam "William Adam (arquitecto)"), muestra la incorporación de torretas.[34]​ El historiador de la arquitectura John Gifford escribe que las almenas eran la «afirmación simbólica del poder cuasi-feudal aún ejercido [por el duque] sobre los habitantes de sus jurisdicciones heredables».[35]​ La mayoría de los edificios todavía estaban se construían en gran parte en el estilo palladiano") establecido, pero algunas casas empezaron a incorporar características externas del estilo baronial escocés. Algunas de las casas de Robert Adam en este estilo son Mellerstain")[36]​ y Wedderburn")[37]​, en Berwickshire, y Seton Castle") en East Lothian,[38]​ pero esto se ve más claramente en el Castillo de Culzean, en Ayrshire, remodelado por Adam desde 1777.[39]​ El excéntrico paisajista Batty Langley") incluso intentó «mejorar» las formas góticas dándoles proporciones clásicas.[40]​.

Una generación más joven, tomando la arquitectura gótica más en serio, proporcionó los lectores a las series de John Britton Architectural Antiquities of Great Britain, que comenzó a aparecer en 1807.[41]​ En 1817, Thomas Rickman escribió un Attempt... para nombrar y definir la secuencia de estilos góticos en la arquitectura eclesiástica inglesa, «un libro de texto para el estudiante de arquitectura». Su largo título antiguo es descriptivo: Attempt to discriminate the styles of English architecture from the Conquest to the Reformation; preceded by a sketch of the Grecian and Roman orders, with notices of nearly five hundred English buildings (Intento de distinguir los estilos de la arquitectura inglesa desde la Conquista hasta la Reforma; precedido por un bosquejo de los órdenes griegos y romanos, con noticias de casi quinientos edificios ingleses). Las categorías que utilizó fueron normando, inglés temprano, decorado") y perpendicular. Tuvo numerosas ediciones y todavía se republicaba en 1881; se volvió a publicar en el siglo .[43]​[44]​.

El uso más común de la arquitectura neogótica fue en la construcción de iglesias. Los principales ejemplos de catedrales góticas en EE. UU. son las catedrales neoyorkinas de San Juan el Divino y San Patricio y la catedral Nacional de Washington en el monte St. Alban, en el noroeste de Washington D. C. Una de las mayores iglesias neogóticas en Canadá es la basílica de Nuestra Señora Inmaculada "Basílica de Nuestra Señora Inmaculada (Guelph)") (1876-1888) en Guelph (Ontario).[45]​.

La arquitectura neogótica siguió siendo uno de los estilos neohistoricistas más populares y longevos. Aunque en los ámbitos comercial, residencial e industrial comenzó a perder fuerza y popularidad después del tercer cuarto del siglo , todavía se siguieron construyendo iglesias neogóticas y, en especial, en el conocido como «gótico colegial», escuelas, colegios y universidades, en un estilo que siguió siendo popular en Inglaterra, Canadá y Estados Unidos hasta bien entrada la primera mitad del siglo . Sólo cuando comenzaron a afianzarse los nuevos materiales, como el acero y el vidrio, junto con la preocupación por la funcionalidad en la vida laboral y cotidiana, y el ahorro de espacio en las ciudades, lo que significaba la necesidad de construir en altura, el neogótico comenzó a desaparecer de los encargos populares.[46]​.

Decorative

The revived Gothic style was not limited to architecture. Los edificios góticos clásicos de los siglos al fueron una fuente de inspiración para los diseñadores del siglo en otros muchos campos de trabajo. En una amplia gama de objetos se aplicaron elementos arquitectónicos de estilo neogótico como los arcos apuntados, las cubiertas con pendientes pronunciadas y los tallados elegantes como encajes y celosías. Some examples of Neo-Gothic influence can be found in the heraldic motifs on coats of arms; en los muebles pintados con elaboradas escenas como los caprichosos detalles góticos en los muebles ingleses que se remontan a la casa de Lady Pomfret") en la Arlington Street londinense (años 1740);[47]​ y el calado gótico en los respaldos de sillas y en los patrones en el acristalamiento de estanterías, que fue una característica familiar del Director de Chippendale (1754, 1762) que, por ejemplo, en la librería de tres partes empleaba detalles góticos con profusión rococó, en una forma simétrica.[48]​[49]​ La Abbotsford House de sir Walter Scott ejemplifica en su mobiliario el estilo «gótico regencia».[51]​[52]​ El renacer del gótico también supuso la reintroducción de las vestimentas y los bailes medievales en las recreaciones históricas que se montaron especialmente en la segunda parte del siglo , aunque una de las primeras, el Eglinton Tournament") of 1839, remains the most famous.[53]​.

By the middle of the century, Gothic tracery and niches could be recreated cheaply on wallpaper, and Gothic blind arcades could already decorate a ceramic jug. J. G. Crace&action=edit&redlink=1 "John Gregory Crace (designer) (not yet written)"), an influential decorator from an influential family of interior designers, expressed his preference for the Gothic style in 1857: "In my opinion, there is no quality of lightness, elegance, richness or beauty which any other style possesses... [or] in which the principles of solid construction can be so well carried out."[54] The Illustrated Catalog of the The Great Exhibition of 1851 is full of Gothic details, from lace and carpet designs to heavy machinery. The volume High Victorian Design, a work published in 1951 by Nikolaus Pevsner on the displays at the Great Exhibition, was an important contribution to the academic study of Victorian taste and an early indicator of the subsequent turn-of-the-century rehabilitation of Victorian architecture and the objects with which it decorated its buildings.[55]

In 1847, eight thousand British Crown coins were minted in proof conditions designing an ornate reverse in accordance with the revived style. Considered by collectors to be particularly beautiful, they are known as "Gothic crowns." The design was repeated in 1853, again as a test. A similar two-shilling coin, the "Gothic Florin" was minted for circulation from 1851 to 1887.[56][57]​.

French neo-Gothic sought its roots in medieval French Gothic architecture, the origin of everything in the 19th century. Gothic architecture was sometimes known during the medieval period as "Opus Francigenum" (or "French art"). The French scholar Alexandre de Laborde wrote in 1816 that "Gothic architecture has beauties of its own,"[58] marking the beginning of the Gothic revival in France. From 1828, Alexandre de Brogniart, director of the Sèvres porcelain factory, produced fired enamel paintings on large panels of flat glass, for the royal chapel of Dreux of King Louis-Philippe, an early and important French commission in the Gothic taste,[59]​ preceded mainly by some Gothic features in some paysager gardeners").[60]​.

French neo-Gothic was established on more solid intellectual foundations by a pioneer, Arcisse de Caumont, who had founded the Société des Antiquaires de Normandie at a time when antiquarian still meant a connoisseur of antiquities, and who published his great work on architecture in French Normandy in 1830.[61]​ The following year, 1831, Victor Hugo's historical romantic novel Our Lady of Paris, appeared with the Hunchback Quasimodo, in which the great Gothic cathedral of Paris appeared, both the setting and protagonist of a very popular work of fiction. However, Hugo intended his book to spark a concern for preserved Gothic architecture in Europe, rather than to start a craze for the Neo-Gothic in contemporary life. in 1837 he became secretary of a new Commission on Historical Monuments (Commission des Monuments Historiques*).[63]​* That was the Commission that instructed Eugène Viollet-le-Duc to report on the conditions of Vézelay Abbey in 1840.[64]​ After that, Viollet le Duc was tasked with restoring most of France's symbolic buildings, including Notre-Dame de Paris*,[65]​* Vézelay itself,[66]​ the Citadel of Carcassonne,[67]​ the Castle of Roquetaillade,[68]​ the famous abbey of Mont-Saint-Michel on its rugged coastal island,[69]​ Pierrefonds,[70]​ and the papal palace in Avignon.[67]​ When the first major neo-Gothic church was built in France,[72]​ the Basilica of Saint Clotilde in Paris,[74]​ begun in September 1846 and consecrated on November 30, 1857, the chosen architect was, significantly, of German origin, Franz Christian Gau (1790-1853); although the design was significantly modified by Gau's assistant, Théodore Ballu, in the later stages, to incorporate the pair of arrows crowning the western façade.[75]​.

Meanwhile, in Germany, interest was revived in finishing Cologne Cathedral, which had begun construction in 1248 and was still unfinished at the time of the Gothic revival. The "Romantic" movement of the 1820s sparked interest, and work began once again in 1842, significantly marking a German return to Gothic architecture. Prague Cathedral was also completed late.[76] Michael J. Lewis has explored the importance of the Cologne completion project in German-speaking lands in his work The Politics of the German Gothic Revival: August Reichensperger. Reichensperger had no doubts about the central position of the cathedral in Germanic culture: "Cologne Cathedral is German in its essence, it is a national monument in the broadest sense of the word, and probably the most splendid monument that has been transmitted to us from the past."[77]

Due to romantic nationalism at the turn of the century, both Germans, French and English claimed that the original Gothic architecture of the century had originated in their own country. The English boldly coined the term "early English" for "Gothic," a designation that implied that Gothic architecture was an English creation. In his 1832 edition of Notre-Dame de Paris, Victor Hugo said: “Let us inspire in the nation, if possible, the love of national architecture,” implying that “Gothic” was a national heritage of France. In Germany, with the completion of Cologne Cathedral in the 1880s, which was the tallest building in the world, the cathedral was seen as the apogee of Gothic architecture. 1890)[80]​ and that of St. Vitus Cathedral in Prague (1844-1929).[81]​.

In Belgium, a century-old church in Ostend burned down in 1896. King Leopold II financed its replacement with a cathedral-like church in the style of the Votive Church of Vienna "Votive Church (Vienna)", also neo-Gothic, and the Cologne Cathedral: the Church of St. Peter and St. Paul "Church of St. Peter and St. Paul (Oostende)"). at the beginning of the century following strictly the design of Rombout II Keldermans in Brabantine Gothic, and became the new north wing of the Town Hall.[83][84]​ In Florence, the temporary façade of the Duomo erected for the nuptials of the Medici-House of Lorraine in 1588-1589 was dismantled, and the west end of the cathedral remained bare again until 1864, when a competition was held to design a new façade appropriate to Arnolfo di Cambio's original building and the elegant bell tower next door. The competition was won by Emilio de Fabris"), so work with its polychrome design and mosaic panels began in 1876 and was completed in 1887, creating the neo-Gothic western façade.[85] Eastern Europe also saw much neo-Gothic construction. In addition to the Hungarian Parliament Building in Budapest") (1885-1904),[14] the Bulgarian national awakening saw the introduction of neo-Gothic elements into its vernacular ecclesiastical and residential architecture. The major project of the Slavine school was the cathedral of the Lopushna Monastery") (1850-1853), although some later churches, such as that of Gavril Genovo") (1873), display neo-Gothic features most prominent vernaculars.[86]​.

In Scotland, although figures such as Frederick Thomas Pilkington") (1832-1898)[87]​ in secular architecture adopted a Gothic style similar to that used further south in England, it was characterized by the readoption of the Scottish baronial style").[88]​ Important to the adoption of the style at the turn of the century was Abbotsford House, the residence of the novelist and poet Sir Walter Scott. Rebuilt for him beginning in 1816, it became a model for the modern recovery of the baronial style. Common features were taken from the houses of the centuries and such as crested doors, stepped gables, pointed turrets and machicolations "Matacán (architecture)"). The style was popular throughout Scotland and was applied to many relatively modest homes by architects such as William Burn") (1789-1870), David Bryce") (1803-1876),[90]​ Edward Blore (1787-1879), Edward Calvert&action=edit&redlink=1 "Edward Calvert (architect) (not yet drafted)") (ca. 1847-1914) and Robert Stodart Lorimer") (1864-1929) and in urban contexts, including the Cockburn Street building in Edinburgh (from the 1850s), as well as the national monument to William Wallace in Stirling (1859-1869).[91]​ The reconstruction of Balmoral Castle as a baronial palace and its adoption as a royal retreat from 1855-1888 confirmed the popularity of the style.[89]​.

In the United States, the first "Gothic style" church[92] (as opposed to churches with Gothic elements) was Trinity Church on Green in New Haven, Connecticut. It was designed by Ithiel Town between 1812 and 1814, while he was building his Federalist-style Center Church in New Haven, adjacent to this radical new "Gothic style" church. Its foundation stone was laid in 1814,[93] and it was consecrated in 1816.[94] It predates St Luke's Church, Chelsea, which is often said to have been the first Gothic church in London. Although built of trap rock stone with arched windows and doorways, parts of its tower and battlements were of wood. Gothic buildings were later erected by Episcopal congregations in Connecticut at St. John's in Salisbury (1823), St. John's in Kent (1823-1826), and St. Andrew's in Marble Dale (1821-1823).[92] These were followed by Town's design for Christ Church Cathedral (Hartford, Connecticut)&action=edit&redlink=1 "Christ Church Cathedral (Hartford, Connecticut) (not yet written)") (1827), which incorporated Gothic elements such as the buttresses in the church's factory. St. Paul's Episcopal Church in Troy"), New York, was built in 1827-1828 as an exact copy of Town's design for New Haven's Trinity Church, but using local stone; due to changes in the original, St. Paul's is closer to Town's original design than Trinity. In the 1830s, architects began to copy specific English Gothic and Gothic Revival churches, and these "mature "neo-Gothic" buildings made the domestic architecture of the Gothic style that had preceded it seemed primitive and antiquated.

There are many examples of neo-Gothic architecture in Canada. The first major building was the Notre-Dame Basilica in Montreal (1824-1829) which was designed in 1824. The capital, Ottawa, Ontario, was predominantly a creation of the century in the neo-Gothic style. The buildings on Parliament Hill (1859-1876) are the preeminent. outlying areas, showing how popular the Gothic Revival movement had become.[45] Other examples of Canadian Neo-Gothic architecture in Ottawa were the Victoria Memorial Museum (1905-1908),[98] the Royal Canadian Mint") (1905-1908),[99]​ and the Connaught Building") (1913-1916),[100]​ all works by David Ewart").[101]​.

Pugin and the "truth" in architecture

In the late 1820s, Augustus Pugin, still a teenager, was working on Gothic-style decorations on luxury furniture[102]​ for the manufacturers Morel and Seddon, who were redecorating Windsor Castle on behalf of the elderly King George VI, in a Gothic taste adapted to the site.[104]​[105]​ Pugin also worked for the royal silversmiths Rundell Bridge and Co., Pugin providing designs for silver from 1828, using the Anglo-French Gothic vocabulary of the century that he would later continue to favor in designs for the new Palace of Westminster.[106] Between 1821 and 1838, Pugin and his father published a series of volumes of architectural drawings, the first two titled, Specimens of Gothic Architecture, and the next three, Examples of Gothic Architecture, which would remain both in print as standard references for Gothic revivalists for at least the next century.[107]​.

In his book Contrasts: or, a Parallel between the Noble Edifices of the Middle Ages, and similar Buildings of the Present Day (1836), Pugin expressed his admiration not only for medieval art, but for the entire "medieval spirit," suggesting that Gothic architecture was the product of a purer society. In The True Principles of Pointed or Christian Architecture (1841), he set forth his “two great rules of design: first, that there should be no features of a building which are not necessary for convenience, construction, or property; second, that all the ornament must consist of enriching the essential construction of the building. Urging modern craftsmen to seek to emulate the style of medieval craftsmanship, as well as to reproduce its methods; Pugin sought to re-establish Gothic as the true Christian architectural style. Pugin's most notable project was the Houses of Parliament, Westminster, after its predecessor was largely destroyed in a fire in 1834. His part in the design consisted of two campaigns, 1836-1837 and again in 1844 and 1852, with the classicist Charles Barry as his superior. nominal. Pugin provided the external decoration and interiors, while Barry designed the symmetrical layout of the building, causing Pugin to remark: 'All Greek, sir; Tudor details in a classic body.»[112]​.

• - Designs by Augustus Pugin.

• - Armoire.

• - St. Giles Church Chapel, Cheadle, Staffordshire.

• - Royal throne in the House of Lords of the Palace of Westminster.

• - Stained glass.

Ruskin and Venetian Gothic

John Ruskin complemented Pugin's ideas in his two influential theoretical works: The Seven Lamps of Architecture (1849) and The Stones of Venice (1853). Finding his architectural ideal in Venice (he declared the Doge's Palace "the central building of the world"), Ruskin suggested that Gothic buildings surpassed all others because of the "sacrifice" of the stonemasons who tortuously decorated each ashlar. In this, he drew a contrast between the physical and spiritual satisfaction that a medieval craftsman derived from his work, and the lack of those satisfactions afforded to modern, industrialized work.[114][115] Declaring the Doge's Palace to be "the central building of the world", Ruskin suggested the use of Gothic for government buildings as Pugin had done for churches, although this was only in theory. When his ideas were put into practice, Ruskin often did not like the result, although he supported many architects, such as Thomas Newenham Deane") and Benjamin Woodward"), and was reputed to have designed some of the corbel decorations for the couple's Oxford Museum of Natural History.[116] A major clash between Gothic and Classical styles in relation to government offices occurred less than a decade after the publication of The Stones of Venice. In a public competition for the construction of a new Foreign Office in Whitehall, first prize was awarded to a neo-Gothic design by George Gilbert Scott overturned by the Prime Minister, Lord Palmerston, who successfully demanded a building in the Italianate style.[118][119]​.

Ecclesiology and funerary style

The English intellectual environment was dominated in the religious sphere by a renewal of Anglo-Catholicism and the ritualism of the High Church through the Oxford movement, which proposed the construction of a large number of new churches to serve the growing population (between 1818 and 1824 about 450 were created following the Church Building Act"), approved on the initiative of the Church Building Society")-Commissioners' church")) and to have cemeteries for burials in good sanitary conditions.[120] His supporters were present in the universities, where the ecclesiological movement was being formed"). Its supporters believed that Gothic was the only style appropriate for parish churches, and favored a particular stage of Gothic architecture: the "decorated" of the second half of the century and first of the century. The Cambridge Camden Society"),[121]​ through its magazine The Ecclesiologist, was very critical of new church constructions that did not meet its purist standards, which came to be called "archaeological Gothic." His pronouncements were followed so avidly that he became the center of the flood of Victorian restoration that affected most Anglican cathedrals and parish churches in England and Wales.[122] However, not all architects or all clients fell into this mainstream; especially those linked to non-conformist or ecumenical religious movements. Even adopting the neo-Gothic aesthetic, they consciously sought to combine it with others, or sought the more sober Northern European Gothic, such as the ecumenical cemetery Abney Park Cemetery, by William Hosking).[123]

St Luke's Church, Chelsea, was the new construction of the Commissioner's Church of 1820-1824, partly built with a grant of £8,333 for its construction from money voted by Parliament as a result of the Church Building Act of 1818.[124] It is often said to have been the first neo-Gothic church in London,[125] and, as Charles Locke put it Eastlake"): "probably the only church of its time in which the main roof was filled with stones."[126] However, the parish was firmly a low church, and the original layout, modified in the 1860s, was as a "preaching church" dominated by the pulpit, with a small altar and wooden galleries over the aisle.[127]

The development of major private metropolitan cemeteries was occurring at the same time as the movement; Sir William Tite pioneered the first Gothic-style cemetery in West Norwood in 1837, with Gothic-style chapels, gates and decorative features, attracting the interest of contemporary architects such as George Edmund Street, Barry and William Burges. The style was immediately hailed as a success and universally replaced the previous preference for classical design.[128]

However, not all architects or clients were swept away by this tide. Although neo-Gothic managed to become an increasingly familiar architectural style, the attempt to associate it with the notion of high superiority of the high church, as advocated by Pugin and the ecclesiological movement, was anathema to those with ecumenical or nonconformist principles. They sought to adopt it solely for its aesthetic and romantic qualities, combine it with other styles, or look to the brick Gothic of northern Europe for a simpler look; or in some cases, in all three options, as in the non-denominational Abney Park cemetery") in east London, designed by William Hosking FSA") in 1840.[129]

France had been somewhat late in entering the neo-Gothic scene, but produced an important figure in the revival in Eugène Viollet-le-Duc. As well as a powerful and influential theorist, Viollet-le-Duc was a leading architect, whose genius lay in restoration.[131] He wanted to restore buildings to a state of completion that they would not have had even when they were first built, theories which he applied to his restorations of the walled city of Carcassonne,[67] to Notre-Dame and the Sainte Chapelle in Paris.[65] In this respect, he differed from his English counterpart Ruskin, as he It often replaced the work of medieval stonemasons. His rational approach to Gothic contrasted with the romantic origins of the revival.[132][133] Throughout his career he remained in a dilemma over whether iron and masonry should be combined in a building. In fact, iron had been used in Gothic buildings since the early days of the revival. It was only with Ruskin and the Gothic archaeological demand for historical truth that iron, whether visible or not, was considered unsuitable for a Gothic building. Finally, the utility of iron won out: "Replacing a cast iron shaft with a column of granite, marble or stone is not bad, but one must agree that it cannot be considered an innovation, like the introduction of a new principle. Replacing a stone or wooden lintel with an iron sleeper is very good.'[134] However, he was firmly opposed to the illusion. «it is necessary that the stone appear to be made of stone; iron, of iron; the wood, of wood».[135]​.

The arguments against modern building materials began to be ignored in the middle of the century as large prefabricated iron and glass structures, such as the Crystal Palace or the glass courtyard of the Oxford University Museum of Natural History, were erected, which seemed to embody Gothic principles. Between 1863 and 1872 Viollet-le-Duc published his Entretiens sur l'architecture, a set of daring designs for buildings that combined iron and masonry.[140] Although these projects were never realized, they influenced several generations of designers and architects, especially Antoni Gaudí, in Spain and, in England, Benjamin Bucknall"), Viollet's main English follower and translator, whose masterpiece was the Woodchester Mansion").[141] The flexibility and strength of cast iron freed neo-Gothic designers to create new forms. impossible structural Gothic in stone, as in Calvert Vaux's cast iron Gothic bridge in Central Park, New York (1860). Vaux uses openwork shapes derived from Gothic blind arcades and window tracery to express the birth and support of the arched bridge, in flexible forms that presage Art Nouveau.[142]​.

In the United States, Collegiate Gothic was a late, literal revival of English neo-Gothic, adapted for American college campuses. The firm of Cope & Stewardson") was an early and important exponent, transforming the campuses of Bryn Mawr College, Princeton University, and the University of Pennsylvania in the 1890s. In 1872, Abner Jackson, president of Trinity College, Connecticut, visited Britain, seeking models and an architect for the university's planned new campus. William Burges was chosen and drew up a master plan of four quadrangles, in his early French Gothic style. Axel Haig") produced sumptuous illustrations.[146] However, the estimated cost, just under a million dollars, together with the sheer scale of the plans, completely alarmed the university's trustees[147]​ and only one-sixth of the plan, the present Long Walk"), was executed, with Francis H. Kimball") acting as local architect and supervisor, and Frederick Law Olmsted laying the foundations.[148] Hitchcock considers the result. "perhaps the most satisfactory of all [Burges's] works and the best example anywhere of Victorian collegiate Gothic architecture."[149]

The movement continued into the 19th century, with Cope & Stewardson's campus for Washington University in St. Louis (1900–1909), Charles Donagh Maginnis' buildings at Boston College (1910) (including Gasson Hall), Ralph Adams Cram's design for Princeton University Graduate College (1913), and James Gamble Rogers' reconstruction of the Yale University campus. (1920).[153] Charles Klauder's Gothic skyscraper on the University of Pittsburgh campus, the Cathedral of Learning (1926) showcased many Gothic styles both inside and out, while using modern technologies to make the building taller.[154]

Las casas gótico de carpintería") y las pequeñas iglesias se hicieron comunes en América del Norte y en otros lugares a fines del siglo .[155]​ Estas edificaciones adaptaron elementos góticos como los arcos apuntados, gabletes empinados y torres en la tradicional construcción estadounidense de entramado de madera. La invención de la sierra de calar y las molduras de madera producidas en masa permitieron que algunas de esos edificios imitaran la fenestración florida del alto gótico. Pero, en la mayoría de los casos, los edificios góticos de carpintería estaban relativamente desprovistos de adornos, conservando solo los elementos básicos de las ventanas de arco apuntado y los gabletes empinados. Un ejemplo bien conocido de gótico de carpintería es una casa en Eldon, Iowa"), que Grant Wood utilizó para el fondo de su cuadro American Gothic.[156]​.

New Zealand and Australia

Benjamin Mountfort, born in Great Britain, trained in Birmingham and later resident in Canterbury, New Zealand), imported the Gothic Revival style to his adopted country and designed Neo-Gothic churches in wood and stone, especially in Christchurch. of the Angels, Wellington "Church of St. Mary of the Angels (Wellington), by Frederick de Jersey Clere") is inspired by French Gothic, and was the first neo-Gothic church built in reinforced concrete. The style was also favored in the city of Dunedin, in southern New Zealand, where the wealth of the Otago Gold Rush in the 1860s allowed many stone buildings to be constructed, using dark breccia stone and a local white limestone, Oamaru stone"), including the Otago University Registry Building by Maxwell Bury")[160]​ and the Dunedin Law Courts") by John Campbell&action=edit&redlink=1 "John Campbell (architect) (not yet drafted)").[161]​.

In Australia, particularly in Melbourne and Sydney, a large number of neo-Gothic style buildings were erected. William Wardell") (1823-1899) was one of the country's most prolific architects; born and trained in England, after emigrating, he completed some Australian buildings of notable design, such as St. Patrick's Cathedral in Melbourne (1858-1939) and St. John's College") and St. Mary's Cathedral in Sydney "St. Mary's Cathedral (Sydney)"). Like many other architects of the 19th century, Wardell could work in different styles depending on the requests of his clients; Government House, Melbourne") is Italianate in style.[162] His building for the headquarters of the English, Scottish and Australian Bank") in Melbourne has been described as "the Australian masterpiece of neo-Gothic." Australia».[165]​.

• - New neo-Gothic cathedrals in Australia and New Zealand.

• - St. Mary's Cathedral "St. Mary's Cathedral (Sydney)"), Sydney (1868-1882;-2000).

• - St Patrick's Cathedral (Melbourne), Melbourne (1858-1897; -1939).

• - Christchurch Cathedral (1864-1904), Christchurch, New Zealand.

• - St Paul's Cathedral, Melbourne (1880-1891).

• - Sacred Heart Cathedral "Sacred Heart Cathedral (Bendigo)"), Bendigo, Australia (1897-1977).

• - The MacLaurin Hall, University of Sydney, Australia.

• - Otago Boys High School, Otago, New Zealand.

• - The Rialto buildings. Collins Street, Melbourne, like other commercial buildings in that city, were built in the neo-Gothic style.

• - Newman College of the University of Melbourne.

Henry-Russell Hitchcock, architectural historian, noted the spread of Gothic Revival in the early 19th century, "wherever English culture spread, to the west coast of the United States and the farthest antipodes."[166] The British Empire, almost at its geographical peak at the height of the Gothic revival, aided or forced this expansion. The English-speaking domains, Canada, India, Australia and New Zealand generally adopted British styles in toto; other parts of the empire saw regional adaptations. India saw the construction of many of these buildings, in so-called Indo-Saracenic or Hindu-Gothic styles.[167] Notable examples include Chhatrapati Shivaji Terminus (formerly Victoria Terminus)[168] and the Taj Mahal Palace Hotel, both in Bombay.[169] At the hill station of Shimla, the summer capital of British India, attempts were made to recreate the Home Counties in the foothills. of the Himalayas. Although neo-Gothic was the predominant architectural style, alternatives were also implemented; Rashtrapati Niwas, the former viceregal residence, has been variously described as Scottish Baronial Revival),[170]​ Tudor Revival[171]​ and Jacobethan.[172]​.

Other examples in the East from the turn of the century include the Church of the Savior, Peking "Church of the Savior (Peking)" (1880-1887), built by order of the Guangxu Emperor and designed by the Catholic missionary and architect Alphonse Favier); colony of the Dutch East Indies), the Jakarta cathedral "Cathedral of Our Lady of the Assumption (Jakarta)") was begun in 1891 and completed in 1901 by the Dutch architect Antonius Dijkmans; and Gustave Eiffel, was consecrated in 1891 in the still Spanish colony.[176] The buildings for new churches in South Africa were many, with little or no effort to adopt vernacular forms. Robert Gray&action=edit&redlink=1 "Robert Gray (bishop of Cape Town) (not yet drafted), the first bishop") of Cape Town, wrote: "I am sure that we do not overestimate the importance of royal churches built in the fashion of our English churches." He oversaw the construction of some fifty buildings of this type between 1848 and his death in 1872. revival, particularly in church architecture,[180]​ for example, the metropolitan cathedral of São Paulo in Brazil by the German Maximilian Emil Hehl"),[181]​ and the cathedral of La Plata in Argentina.[182]​.

The Gothic style dictated the use of compressed structural elements, leading to tall, buttressed buildings, with supporting interior columns made of stone masonry and tall, narrow windows. But by the turn of the century, technological developments such as the steel frame, the incandescent light bulb, and the elevator made that approach obsolete. Steel latticework supplanted the non-ornamental functions of cross vaults and flying buttresses, providing larger, more open interiors with fewer columns to interrupt the view.

Some architects persisted in using neo-Gothic tracery as ornamentation applied to an underlying iron skeleton, for example Cass Gilbert in his New York skyscraper Woolworth Building[183] in 1913 or Raymond Hood in Chicago's Tribune Tower in 1922.[184] But, during the first half of the century, neo-Gothic was displaced by Modernism, although some modernist architects saw the Gothic tradition of the architectural form. entirely in terms of the "honest expression" of the technology of the day, and they saw themselves as inheritors of that tradition, with their use of rectangular frames and exposed iron beams.

Despite this, Gothic Revival continued to exert its influence, simply because many of its most massive projects were still being built in the second half of the century, such as Giles Gilbert Scott's Liverpool Cathedral and Washington National Cathedral (1907–1990). Ralph Adams Cram became a leading force in American Gothic Revival, with his most ambitious project, the Cathedral of St. John the Divine in New York (which he claimed to be the largest cathedral in the world), as well as the Collegiate Gothic buildings at Princeton University.[187] Cram said that "the style carved and perfected by our ancestors [has] become ours by uncontested heritage."[188]

Although the number of new neo-Gothic buildings decreased dramatically after the 1930s, they continued to be built. St. Edmundsbury Cathedral, Bury St. Edmunds Cathedral in Suffolk, was expanded and rebuilt in a neo-Gothic style between the late 1950s and 2005, adding a dominant central stone tower. Cambridge, inaugurated in 2016, combines with the neo-Gothic style of the rest of the courtyard in which it is located.[192]​.

The illustrations in Charles Knight's Pictorial Gallery of the Arts (1858) showed in detail the incorporation of the influence of modern design into the neo-Gothic. By 1872, the Gothic Revival was mature enough in the United Kingdom for Charles Locke Eastlake, an influential professor of design, to publish A History of the Gothic Revival. But the first detailed essay on the movement came half a century later, in 1928, from the field of art history, by Kenneth Clark, The Gothic Revival. An Essay. essay).[194]​ Architect and writer Harry Stuart Goodhart-Rendel") covered the revival theme appreciatively in his Slade Lectures") in 1934.[196]​[197]​ But the early-century conventional view of neo-Gothic architecture was highly dismissive, with critics writing of "the architectural tragedy of the century,"[198]​ ridiculing "the ugliness." uncompromising"[199]​ of the buildings of the period and attacking the "sadistic hatred of beauty" of its architects.[200][202]​ The 1950s saw small signs of a recovery in the reputation of revival architecture. John Steegman's study, Consort of Taste (reissued in 1970 as Victorian Taste, with a foreword by Nikolaus Pevsner), was published. published in 1950 and began a slow turn in the tide of opinion "towards a more serious and comprehensive assessment." This was followed by the founding of the Victorian Society in 1958 and, in 1963, the publication of Victorian Architecture, an influential collection of essays edited by Peter Ferriday.[204] In 2008, on the fiftieth anniversary of the founding of the Victorian Society, architecture Gothic Revival was more appreciated and some of its leading architects received academic attention and some of its best buildings, such as George Gilbert Scott's St. Pancras Station, were magnificently restored.[205] The Society's 50th anniversary publication, Saving A Century, examined half a century of losses and successes, reflected on changing perceptions towards Victorian architecture and concluded with a chapter entitled "The Victorians". Victorious*).[206]​.

• - Architectural elements and arches, in Knight's work.

• - Decorative architectural elements, in Knight's work.

• - More examples of decorative elements, in Knight's work.

• - Designs by Viollet-le-Duc.

• - Designs by Viollet-le-Duc.

• - Designs by Viollet-le-Duc.

Neo-Gothic in the German-speaking world

The Nauener Tor in Potsdam (1755), which Frederick the Great had built on British initiative, was the first neo-Gothic building in Germany. With Frederick's support, the Gothic revival received a national orientation because it was seen as connected to the medieval empire. The style was particularly prevalent in buildings in parks at the time, such as the Gothic house in Wörlitzer Park (1786-1787) or the Löwenburg "Löwenburg (Kassel)" in Bergpark Wilhelmshöhe. It was designed by Heinrich Christoph Jussow between 1793 and 1800 as an imitation of a medieval English knight's castle.

Johann Wolfgang von Goethe's essay, Von Deutscher Baukunst"), published in 1773, was of particular importance for the revival of Gothic in Germany. Goethe described the German master builder Erwin von Steinbach") as the supposed sole builder of Strasbourg Cathedral, whom he viewed as a genius, and sparked enthusiasm for Gothic architecture, until then largely despised, which came to be understood as German architecture and evaluated positively. Goethe did not know that Gothic architecture, historically, had originated in France. In the period that followed, that French origin was disputed for decades or even ignored by nationalist supporters of a supposedly "German" Gothic.

Romanticism at the turn of the century sparked an enthusiasm for medieval buildings in Germany, especially large domes and Gothic castles. An important testimony to this were the Grundzüge der gotischen Baukunst (Basic characteristics of Gothic architecture) by Friedrich Schlegel, or also the romantic landscapes of Caspar David Friedrich, Carl Gustav Carus, Julius von Leypold") and Karl Friedrich Schinkel, known as the architect of classicism. In the course of this new fashion, ancient ruins such as the Cologne Cathedral (the construction of which was resumed in 1846, completed in 1880) or of Ulm Cathedral (completion of the west tower in 1890) could be completed according to the plans of the Middle Ages. Other Gothic churches were refined, that is, freed from the subsequent changes of later stylistic stages, completed and corrected for alleged errors. The achievements used the original construction plans, so from an art historical point of view they are still (for the most part) buildings of. medieval gothic style.

An 1842 mausoleum for the general and statesman Carl von Alten erected near Hanover is mistakenly considered the first neo-Gothic brick building in northern Germany. It was designed by the Hannover city planner Georg Ludwig Friedrich Laves") and was built by Conrad Wilhelm Hase"). The building in what is today the Sundern nature reserve fell into ruins over time. However, much earlier (1803-1809) the Catholic Church of St. Helena and Andreas had already been built in a romantic neo-Gothic style in Ludwigslust in Mecklenburg according to the plans of Johann Christoph Heinrich von Seydewitz) and Johann Georg Complete Barque (1803-1809).

The existing castle ruins were tastefully rebuilt according to the English model, the Castellated Style, but these reconstructions had nothing to do with the historical form of the castles. Typical examples of this were the Hohenzollern Castle near Hechingen (rebuilt in 1846-1867 by Frederick Augustus Stüler for King William IV of Prussia, the Stolzenfels Castle in Koblenz, and other buildings of Rhine Romanticism) (the interpretation of the landscape conditions and history of the Rhine Valley in the cultural-historical period of Romanticism). An exceptionally extensive renovation and expansion of oldest castles, palaces and monasteries carried out under the Duke of Coburg Ernest I, with his neo-Gothic creations of Schloss Rosenau, Schloss Ehrenburg, Schloss Callenberg and Schloss Reinhardsbrunn"). The Schloss Friedrichshof (1889-1893), designed by Ernst von Ihne") (inspired by the Tudor style) for Empress Victoria "Victoria of the United Kingdom (1840-1901)"), is also exceptional and served as her residence during her widowhood.

• - Romantic castles.

• - Schloss Rosenau (1808-1817), rebuilt by Karl Friedrich Schinkel.

• - Ehrenburg Palace (1816-1840), redesigned by Karl Friedrich Schinkel.

• - Schloss Callenberg (1827-1842), rebuilt to be the summer residence of Ernest II.

• - Neuschwanstein (1869-1886), the work of Louis II, an eclectic mix of Romanesque, Gothic and Byzantine.

• - Kronberg Castle (1889-1893), work of the German Empress Dowager Victoria "Victory of the United Kingdom (1840-1901)").

For new churches and secular buildings in growing cities, neo-Gothic architecture was happily turned to and a new idealized architecture, the neo-Gothic style, was composed with elements from the rich heritage of existing buildings. However, due to the great distance in time, there was no deep understanding of the formal language and types of church construction can be found in neo-Gothic town halls. Outstanding examples of secular neo-Gothic buildings are the town halls of Vienna, Munich and Berlin's Köpenick district, as well as the unique ensemble of Hamburg's Speicherstadt (warehouse district).

For the interior, particularly the altars and pulpits of the new and renovated churches, elaborately carved works were created that were based on the elements of architecture, but without a model. These works were later derogatorily called Gothic cabinetmakers (Schreinergotik). Stained glass also flourished, but the new works were more realistic and naturalistic than the historical models. Many of these church furnishings were removed and destroyed again in the 1960s out of disdain for imitation styles.

The new style also affected the cemetery system. For example, the first neo-Gothic work of art in a Bavarian cemetery is the monument created by Friedrich von Gärtner and presented on November 1, 1831, at the mass grave of the Sendlingen Christmas Murder in the Old South Cemetery in Munich.[212]

During World War II, neo-Gothic buildings were subjected to massive destruction, particularly in the German-speaking world. However, almost all major neo-Gothic cathedrals were saved from collapse, although the roof beams burned in many places. An exception to this is the Nikolaikirche&action=edit&redlink=1 "Ehemalige Hauptkirche St. Nikolai (Hamburg) (not yet drafted)") in Hamburg, whose ships were still standing after the devastating bombings of "Operation Gomorrha")" in the summer of 1943, but whose ruins were demolished in 1951 despite civil protests. Only the tower remains standing at 147 m. high from the sea of houses (the Ulm Church is only 14 m. higher). It gives an idea of the size of the destroyed church, which can undoubtedly be considered one of the largest and most splendid, built solely in the neo-Gothic style (without sections from the Middle Ages).

Enthusiasm for Gothic forms waned again in the strongly nationalist Germany of the Second Empire, after it became increasingly evident that the Gothic style was not a typical German style, but came historically from France. It was believed that the typically German style sought was found in the Romanesque, whereupon the focus shifted to Romanesque and neuromanic forms. Towards the end of the century, there was a special local neo-Gothic style in Nuremberg, the Nuremberg style, which attempted to take advantage of the city's High and Late Gothic building traditions. One of the last examples in Germany was St. Paul's Church in Munich, the work of Georg von Hauberrisser and consecrated in 1906. The Church of Martinus in Olpe (consecrated in 1909) is also built in the neo-Gothic style.

• - Neo-Gothic architecture in Germany.

• - Neuschwanstein Castle bedroom.

• - Cologne Cathedral.

• - Status of the works on the Cologne Cathedral in 1824.

• - St. Matthias&action=edit&redlink=1 "St. Matthias Church (Sondershausen) (not yet drawn up)") in Sondershausen, 1905.

• - Mariahilfkirche&action=edit&redlink=1 "Mariahilfkirche (München) (not yet written)" in Munich, by Joseph Daniel Ohlmüller").

• - Helmet of the tower of the Marienkirche in Berlin (1789-1790).

Neo-Gothic in the Netherlands

Dutch Neo-Gothic can be divided into two styles, which only have in common that both were inspired by Gothic elements.

In the Netherlands, there was initially little interest in the Gothic revival, firstly because Catholics were not allowed to build new churches and were only allowed to go to church in inconspicuous buildings. Another important reason was that the Netherlands had not known real architects since the century and that, as a result, important technical skills had been lost: classicism had almost seamlessly turned into neoclassicism.

The construction world was dominated by engineers, mostly military and officials from the Ministry of Water Management. Due to the weak economy in the Netherlands, little was built in those years anyway, but there was also little support among potential customers. One of those few clients was the crown prince who had grown up in England, and later King William II. He had a residence built in Tilburg (Paleis-Raadhuis") and in The Hague a Gothic hall behind the palace in Kneuterdijk"), renovated in 1816-1817, as well as a row of houses and a church in Nassaulaan.

Only from the 1840s onwards is there a tentative beginning of neo-Gothic construction with mainly factories (in Delft), steam pumping stations (around the Haarlemmermeer), station buildings (Valkenburg station) and water towers. This early neo-Gothic (Vroege neogotiek) is also known as William II Gothic (Willem II-gotiek) (ca. 1830-1860). The characteristic of this style is that the construction was still essentially neoclassical and that the neo-Gothic was reflected almost exclusively in the decorative use of Gothic forms such as pointed arches and pinnacles. The constructive foundations of Gothic were barely studied and less understood, which is why when designing churches they never had vaults, at most straw and stucco vaults, from which the style takes another nickname, stucco Gothic (stukadoorsgotiek).

Another important difference from the later Gothic revival is that the Gothic William II was not tied to a particular religious or social movement. Where true neo-Gothic would become almost exclusively a Catholic style, William II Gothic was applied to Protestant and Catholic churches and even synagogues. Architects such as Theo Molkenboer&action=edit&redlink=1 "Theo Molkenboer (architect) (not yet written)"), H.J. van den Brink"), W.J. van Vogelpoel") and A. van Veggel") worked in both neoclassical and William II Gothic styles, and often designed Protestant and Catholic churches. The Zuiderkerk&action=edit&redlink=1 "Zuiderkerk (Rotterdam) (not yet redacted)") in Rotterdam, destroyed in 1940, was a highlight of this style. Important surviving examples are the reformed church&action=edit&redlink=1 "Hervormde kerk (Zeist) (not yet drafted)") by architect Nicolaas Kamperdijk") in Zeist and the Catholic church De Papegaai") in Amsterdam.

Neo-Gothic in Belgium

The areas that would later form the Kingdom of Belgium in 1830 had an important tradition of Gothic building in the late Middle Ages. Particularly in civil and urban architecture (town halls, guild houses, etc.), buildings such as the Leuven City Hall and the Brussels City Hall were created in the early 19th century, which will be internationally outstanding examples. The Gothic building style was used for religious architecture well into the 20th century. It is therefore not surprising that the style has undergone a major revival, especially after the Belgian revolution. In certain areas, people quickly spread that style from the glorious past as a national style. The Belgian revolution was also a victory for the Catholic Church. Young Belgium was a homogeneous Catholic nation, albeit with a small but influential liberal and anticlerical elite. Because Gothic was preeminently the style of pre-Reformation Catholic churches and monasteries, the revival of the style was sometimes accompanied by a conservative Catholic revival. That strong philosophical and political association was certainly not clearly present at the beginning.

The first traces of neo-Gothic or neo-medieval architecture in Belgium can be placed in the spirit of early romanticism. For example, the rulers Albert of Saxe-Teschen and his wife Maria Christina of Austria "Mary Christina of Austria (1742-1798)") had already abandoned the romantic landscape park of Laeken Castle in the 1780s by building a ruined Gothic castle that has not been preserved. It was a style of romantic fantasy that mainly wanted to evoke the picturesque and mysterious of medieval architecture. It was just a folie, a fake medieval building that was intended to decorate the garden. The romantic and picturesque spirit also characterizes all other early examples of neo-Gothic architecture. It is a very decorative style that freely combines elements and motifs from different periods and schools of Gothic. This romantic style was also known as the "troubadour style."

The first achievements in this style were made by the Ghent architect Jean Baptiste Pison. Around 1800 he built the castle house of Moregem near Oudenaarde. In the first decade of the 20th century, Pisson and François Verly renovated Wissekerke Castle (1803-1811), giving it a romantic neo-Gothic appearance. They were clearly inspired by early English examples such as Strawberry Hill. The view was as romantic and picturesque as possible. Otherwise, Verly built in the neoclassical style, but he also made romantic landscapes in watercolor. Other early creations are the decoration of the "Gothic hall" of the Brussels City Hall (1825) and the beautiful estate "Les Masures" (1835-1837) in Pepinster.[213]​ Of this large country house, built in a neo-Tudor style, clearly inspired by the English by the architect Auguste Marie Vivroux (1795-1867) for the industrialist Edouard de Biolley, unfortunately only the entrance gate with a picturesque bridge over the Vesder remains.[214]​.

Neo-Gothic in Italy

The Italian neo-Gothic follows the French. Among its first examples it is necessary to remember the Pollenzo Castle, on the homonymous estate in Savoy. There, in an early residence of the 19th century, King Carlo Alberto established a modern agricultural estate, expanding the original construction. The result was a castle in which the most varied styles are combined, from neo-Romanesque to neo-Gothic, combined in the new version of the century directed by Pelagio Palagi and Ernesto Melano"); neo-Gothic is also the church of San Vittore connected to it. The province of Cúneo has a rich neo-Gothic heritage, not only in Pollenzo, but in Busca, Novello, Envie and Dogliani.

Other important construction sites open for the completion of the main Italian Gothic churches, such as those for the construction of the cold facades of the Florentine churches of Santa Croce "Basilica of the Holy Cross (Florence)" (1854-1863) and Santa Maria del Fiore (1866-1887), designed respectively by Niccolò Matas" and Emilio De Fabris"). Still at the end of the century, the façade of the Cathedral of Naples (1877-1905), designed by Errico Alvino"), was completed, while the Gothic façade of the Cathedral of Arezzo (1901-1914) is from the beginning of the century. A singular case is that of the Cathedral of Milan, whose construction, begun in 1386, was completed only in the century: most of the towers and architectural decorations date from the period between the centuries and and are resumed, only for consistency with the original design, in Gothic style. The façade, work of Carlo Amati"), made in 1806-1813 in the Napoleonic era, is the most notable element of the Gothic tradition.

• - Neo-Gothic facades in large unfinished churches.

• - Facade of the Milan Cathedral (1806-1813), by Carlo Amati"), a Gothic façade built in the century.

• - Facade of the Santa Croce "Basilica of the Holy Cross (Florence)") (1854-1863), Florence, designed by Niccolò Matas") from 1837. Gaetano Baccani is responsible for the bell tower (1847).

• - Cathedral of Santa María del Fiore (1866-1887), work of Emilio De Fabris").

• - Facade of the Cathedral of Naples (1877-1905), project by Errico Alvino").

• - Arezzo Cathedral (1901-1914).

In Italy, throughout the century, neo-Gothic survived until the time of Liberty as a more eclectic style: this is the case, for example, of Mackenzie Castle, the sumptuous residence built according to a project by Gino Coppedè between 1893 and 1905. The castle is presented as an extravagant mix of styles and architectural references from the past: significant are the references to the Gothic palaces of medieval Tuscany, such as the Palazzo Pubblico "Palazzo Pubblico (Siena)") in Siena and the Palazzo Vecchio in Florence.

Neo-Gothic also became the style of Protestant churches built in Italy in the 19th century, after freedom of worship was granted; The Gothic style, in fact, austere and minimalist, was well suited to the liturgies of the Reformed churches.

Neo-Gothic in Poland

In Poland, the most famous architects who created neo-Gothic buildings were: Piotr Aigner (1756-1841), Henryk Marconi") (1792-1863), Franciszek Jaszczołd") (1808-1873), Feliks Księżarski") (1820-1884), Alexis Langer") (1825-1904), Konstanty Wojciechowski&action=edit&redlink=1 "Konstanty Wojciechowski (1841-1910) (not yet written)", Józef Pius Dziekoński") (1844-1927), Ludwig Schneider") (1855-1943), Teodor Talowski") (1857-1910) and Jan Sas-Zubrzycki") (1860-1935).

One of the first neo-Gothic churches in Poland was the Wielącza Church, near Zamość, built in 1821-1832 according to a design by Wacław Ritschel).

Among secular buildings, the Pac Palace in Dowspuda") from 1820-1823[228] can be mentioned as one of the first examples of neo-Gothic architecture. Other examples of neo-Gothic residential architecture are the castle in Kórnik"), the railway station in Nowe Skalmierzyce"), the palace in Leśkowa") in the Elizabethan neo-Gothic style, the Palace in Landwarów"), the Palace in Czerniatyn") and the Palace in Kosava") (1838). At the end of the century, the neo-Gothic style was often used in the decoration of bourgeois houses (for example, the Ławrynowicz House in Warsaw or the building of the Warsaw Rowing Society in Warsaw").

• - Neo-Gothic in Poland.

• - Church of St. Martin in Krzeszowice, project of 1832, construction of 1832-1844, Karl Friedrich Schinkel.

• - Palace in Kosava") (1838).

• - Kamenz Castle (1838-1872), according to plans by Karl Friedrich Schinkel.

• - Castle in Kórnik") (1843-1860), by Karl Friedrich Schinkel and Marian Cybulski") with the participation of Tytusa Działyńskiego").

• - Tyszkiewicz Palace in Landwarów") (now Lithuania) (1850-1899).

• - Nowe Skalmierzyce railway station") (1906-1909).

One of the variants of neo-Gothic that became popular in Poland was the so-called Vistula-Baltic style (Styl wiślano-bałtycki), which was temporarily considered the "Polish national style." This concept was developed in the 1860s and 1870s by Kraków historians Władysław Łuszczkiewicz") and Józef Łepkowski"), although their theoretical concepts met with a lively response among Mazovian researchers.

In the 1880s, Karol Matuszewski"), who promoted the Vistula-Baltic style, addressed the problems of Gothic as a Polish national style. That style was particularly popularized by the competition for the design of the Cathedral of St. Michael the Archangel and St. Florian the Martyr in Warsaw, in which the regulations stipulated that the style of the temple should be arched in the so-called Vistula-Baltic shadow. A project by Józef Pius was chosen Dziekoński. Another important project in the style was the Church of the Assumption of the Blessed Virgin Mary in Łódź") (1887-1897), designed by Konstanty Wojciechowski (1841-1910).

Neo-Gothic in Central and Eastern Europe

It was above all in central and eastern Europe, divided into multiple states and subjected to the tensions that would eventually produce German unification and the expansion of the Austro-Hungarian Empire in the Balkans, where neo-Gothic became the expression of a "national" art. In Germany, the most famous neo-Gothic architects were Karl Friedrich Schinkel and Ernst Friedrich Zwirner.[229] The most significant works were the town hall houses (Rathaus), in addition to the push for the completion of numerous religious buildings that had not been completed for centuries, such as the Cologne Cathedral. In the south, Bavaria, the construction promoted by Luis II stands out. In the Austro-Hungarian Empire, neo-Gothic buildings such as the Votivkirche in Vienna were built ex novo. The Parliament of Budapest (1885-1904) was a grandiose construction project of the Hungarian government that had begun in 1867 and was chosen in an international competition. The style was also adopted in some buildings of the Russian Empire.

• - Hungary.

• - Parliament of Hungary (1885-1904) in Budapest.

• - Örökimádás Templom (Church of Perpetual Adoration), Budapest.

• - Vajdahunyad Castle in Budapest.

• - Andrássy Palace in Tiszadob").

• - Palace of Countess Teréz Brunszvik") of Korompa in Martonvásár.

• - Church of the Immaculate Conception of Fót, with Islamic and Byzantine elements.

• - Nádasdladány Mansion") in Nádasdladány.

• - Neo-Gothic in central and eastern Europe.

• - Vienna Votivkirche.

• - Status of the Votivkirche works in Vienna in 1866.

• - Schadau Castle"), Thun, Switzerland.

• - Church of Saint Ludmila in Prague, by Josef Mocker (1888-1892).

• - Co-Cathedral of Saints Peter and Saints "Co-Cathedral of Saints Peter and Saints (Osijek)"), Osijek, Croatia (1894-1900).

• - Lutheran Church of the Savior (1899), Baku, Azerbaijan.

• - Cathedral of the Mother of God of Batumi, Georgia (1898-1903).

• - Cathedral of Saint Nicholas of kyiv, Catholic, by Vladislav Gorodetsky (1899-1909).

• - Church of St. Alexander Nevski (Peterhof) "Church of St. Alexander Nevski (Peterhof)"), by Karl Friedrich Schinkel (1829-1834).

• - Cathedral of Saint Paul of the Russe Cross") (Bulgaria), Catholic, designed by the Italian architect Valentino (1890).

• - Iași Palace of Culture (Romania), by I.D. Berindei") (1906-1925).

• - New Peterhof Station, 1857, Saint Petersburg, Russia.

• - Cathedral of the Immaculate Conception in Moscow, Russia, an example of Gothic brick revival.

Neogothic in Spain

The neo-Gothic style arrived in Spain at the end of the century; finishing under his criteria the facades of some medieval cathedrals, such as that of Barcelona, ​​that of Cuenca "Cathedral of Cuenca (Spain)") (Vicente Lampérez) and that of Bilbao or the remodeling of San Jerónimo el Real (where neo-Mudejar and neo-Elizabethan elements are also used) and raising others, such as that of San Sebastián. With more freedom it was used in private homes such as the Sobrellano Palace (Comillas), the Palace of the Marchioness of Cartago")[230]​ (Ciudad Rodrigo) or the Laredo Palace (Alcalá de Henares, also mixed with neo-Mudejar elements).

Particularly in Catalonia, the neo-Gothic was promoted by the emerging nationalist consciousness of the local bourgeoisie, interested in connecting with the medieval past (Barrio Gotic de Barcelona, ​​Catalan modernism).[231]​.

Other buildings began to be conceived with neo-Gothic approaches but were completed with very different assumptions, under the influence of nascent Spanish modernism: this was the case with the first model for the Sagrada Familia in Barcelona, ​​by Francisco del Villar, which Gaudí radically transformed (Gaudí himself, in the Episcopal Palace of Astorga, starting from the neo-Gothic, introduced elements that can be called «modernist "Modernism (art)")»); or with part of the initial approach of the Almudena Cathedral in Madrid, which after its successive phases of construction became eclectic architecture to fit with the more neoclassical Madrid environment.

• - Neogothic in Spain.

• - Sagrada Familia project by Antoni Gaudí.

• - San Jerónimo el Real de Madrid (rebuilt by Narciso Pascual Colomer in 1879-1882).

• - Convento de las Salesas (Barcelona) "Church and convent of las Salesas (Barcelona)") (1877-1885), work of Joan Martorell i Montells.

• - Sobrellano Palace in Comillas, work of Joan Martorell (finished in 1888).

• - Casa Botines in León, by Gaudí (1891-1892).

• - Cathedral of the Good Shepherd of San Sebastián, by Manuel Echave and Ramón Cortázar (1889-1897).

• - Main façade of the church of Santiago el Mayor in Vigo, by Manuel Felipe Quintana (1896-1907).

• - Facade of the Barcelona Cathedral, work of Josep Oriol Mestres (1882-1913).

• - Episcopal Palace of Astorga by Antoni Gaudí (1889-1915).

• - Church of the Holy Cross "Iglesia de la Santa Cruz (Madrid)"), in Madrid, (1889-1902).

• - Palace of the Marchioness of Cartago in Ciudad Rodrigo.

• - Interior of the Almudena cathedral in Madrid.

Neo-Gothic in Portugal

In Portugal, the Gothic style dominated architecture in the period between the 20th century and the beginning of the 20th century. In this last phase, exotic Portuguese Gothic became known as the Manueline style. As in other European countries, from the century onwards, several of the old Gothic buildings were restored and often partially recreated, in a more or less imaginative way, in the neo-Gothic style or, in the specific case of Portugal, in the neo-Manueline style. Thus, there were several interventions in buildings such as the Belém Tower, the Batalha Monastery and the Jerónimos Monastery, among others, which attempted to recover the ancient brilliance of these emblematic monuments. The Jerónimos Monastery, for example, underwent a major restoration since 1867, in which the bell tower and the former monks' dormitory were completely remodeled in the neo-Manueline style.

In addition, there were also buildings built from scratch in the neo-Gothic and/or neo-Manueline style from the first half of the century, following the romantic spirit that prevailed at that time. Many of those early experiences also incorporate oriental and exotic touches, with quotes from Islamic architecture. Important examples are the Monserrate Palace (after 1858) and the Pena Palace (after 1838), both in Sintra, the latter being a whimsical mix between the neo-Gothic, the neo-Manueline and the neo-Islamic.

Neo-Manueline became one of the favorite styles in Portugal, giving rise to works such as the Palace Hotel de Busaco (1888-1907), the Quinta da Regaleira, the Palace of the Counts of Castro Guimarães in Cascais (around 1900), the Rossio Train Station, the town halls (Paços do Concelho) of Sintra and Soure, among many other buildings. The strict neo-Gothic is represented in fewer buildings. A notable example is the Santa Justa elevator (1898-1902), in Lisbon, an iron structure decorated with Gothic motifs.

• - Neo-Gothic in Portugal.

• - Hall of the tombs of the Alcobaza monastery (c. 1770), Alcobaza.

• - Neo-Gothic chapel in the gardens of the Monserrate palace (c. 1790), Sintra.

• - Sanctuary of Nossa Senhora do Alívio, Vila Verde (1872-1993).

• - Chapel of the Pestanas (1878), Porto.

• - Chapel of Our Lady of Victories "Chapel of Our Lady of Victories (Furnas)") (1886), San Miguel Island "San Miguel Island (Azores)").

• - Parish Church of Reguengos de Monsaraz (1887-1901).

• - Church of Santo Condestable") (1946-1951), Lisbon.

• - Santa Justa Elevator (1900-1902), Lisbon.

• - Lello and Irmão Bookstore (1906), Porto.

• - Medieval Tower of Porto") (1940).

• - The neo-Manueline Rossio train station (1886-1890), in Lisbon.

• - Neo-Gothic palaces in Portugal.

• - Pena National Palace (1838-1885) (Sintra).

Neogothic in Brazil

Neo-Gothic became popular in Brazil near the end of the reign of D. Pedro II, especially from the 1880s onwards. The three oldest neo-Gothic churches in Brazil are the Iglesia de Nossa Senhora do Amparo&action=edit&redlink=1 "Iglesia de Nossa Senhora do Amparo (Teresina) (not yet redacted)") in Teresina, in Piauí (1852), the Matriz de Nossa Senhora da Purificação, in Bom Princípio")[232]​ (RS) (1871), the Church of the Sanctuary of Caraça, in Minas Gerais, built between 1876 and 1883 to replace a colonial church and the Basilica of the Sacred Heart of Jesus in Diamantina") (MG) (1884-1889), the last two projects of Father Julio Clavelin. Another pioneering neo-Gothic church is the Petrópolis Cathedral, begun in 1884 but completed around 1925, which houses the tombs of the Emperor and his family. In Rio de Janeiro "Rio de Janeiro (city)"), then the capital, many buildings of this style were built starting in the 1880s, such as the picturesque Fiscal Island Palace, built on an island in Guanabara Bay between 1881 and 1889, the Church of the Immaculate Conception in Botafogo "Botafogo (neighborhood)") (1888-1892), the Methodist Church of Catete (1886) and others. Neo-Manueline, a Portuguese variant of neo-Gothic, appears for the first time at that time in the Royal Portuguese Reading Cabinet, built between 1880 and 1887 in the center of Rio.

Neo-Gothic was widely used in all types of secular and military buildings, including private homes, but was particularly popular in religious buildings. In the capital São Paulo "São Paulo (city)"), the first neo-Gothic church was the Lutheran Church of Martinho Luther (1906-1908), followed a few years later by the monumental Sé Cathedral,[233]​ built from 1913 and inaugurated only in 1954. Between 1930 and 1954, the Church of Santa Ifigênia "Basilica del Santísimo Sacramento (São Paulo)"), also in neo-Gothic style, was the city's cathedral. Other neo-Gothic cathedrals include the Cathedral of Saints (1909-1967), the Cathedral of Boa Viagem in Belo Horizonte (started in 1913 and completed in 1932), the Cathedral of Vitória (1920-1970) and others. Late neo-Gothic churches began to be built until at least the 1930s, such as the Metropolitan Cathedral of Fortaleza, which began in 1939 and was inaugurated only in 1978.

In Rio Grande do Sul, the neo-Gothic style was the preferred style for the construction of an infinite number of chapels and temples, especially in the regions of Italian and German colonization, between the end of the century and the beginning of the . Among these there are interesting examples: the Cathedral of Caxias do Sul, begun in 1895 as a parish church, and the Chapel of the Holy Sepulchre"), in the same city, the Mother Church of NS de Lourdes in Flores da Cunha "Flores da Cunha (Rio Grande do Sul)"), the Cristo Rei Church in Bento Gonçalves "Bento Gonçalves (Rio Grande do Sul)"), the Mother Church of São Pedro in Garibaldi, and the Matriz de São Luiz Gonzaga, in Veranópolis. The German-colonized city of Santa Cruz do Sul also has a cathedral with a vigorous and original interpretation of the Gothic style, built between 1928 and 1936. Another notable example in the same region is the Church of São Sebastião Mártir in Venâncio Aires. Other important examples are the churches built by Spanish Carmelites, one dedicated to Nossa Senhora do Carmo in Uruguaiana, another of the same invocation in Río Grande, and the Church of Santa Teresinha"), in Porto Alegre, built between 1924 and 1931, all following the same patterns and purity of lines.

Neogothic in Mexico

The neo-Gothic will develop in Mexico because its main objective will be to reclaim the church as the bastion of faith and as the entity that disseminates social values, in the face of the clerophobic and supposedly harmful ideas of the liberal governments "Liberal Party (Mexico)"). Its use, moreover, will coincide with the search for a national architectural identity, a search that will react to neoclassicism, fully established in the country.[237]​.

The fulfillment of this desire for vindication will find its best moment in the Porfiriato, during which a tacit agreement between the Church and the State will be sustained, which will make possible the remodeling and erection of numerous temples throughout the country.[237]​ which will be added to the many more that will be built in the new dioceses, products of the reorganization of the ecclesial territory.[236]​ The general conditions to which the development will be faced of the neo-Gothic will be: the growth of many cities and their subsequent beautification; the emergence of new devotions, such as the Sacred Heart of Jesus, and the concept of atonement "Atonement (religion)") for the evils of the world, along with the erection of temples for such purposes; and the reinforcement of the dedication of the Virgin of Guadalupe "Our Lady of Guadalupe (Mexico)") through her pontifical coronation on October 12, 1895.[236]​.

The three main disseminating agents of neo-Gothic in Mexico will be:.

1. • the Academy, mainly the Academy of Architecture of San Carlos,[237]​ in which, as a result of its financial reorganization in 1834, foreign professors will begin to teach classes and the opportunity for exchanges will be provided to European countries, especially France;[238]​.

2. • foreign architects and engineers, who will come to the country to carry out certain assignments (328) or will see in it the possibility of developing their professional career, such as Adamo Boari, who will be in charge of building the Expiatory Temple of the Blessed Sacrament, in Guadalajara "Guadalajara (Mexico)"), following the construction of the Orvieto cathedral;[238]​.

3. • and the work of builders and master builders, who, within towns or small cities, will use the neo-Gothic style "more at the suggestion of parish priests and bishops than on their own initiative",[237]​ a situation such as that of Ceferino Gutiérrez Muñoz, who will design the towers of the parish of San Miguel Arcángel in San Miguel de Allende.[236]​.

Of all, the last factor will be the determining factor for the development of the neo-Gothic, since through it the influence of the internal dynamics of the Church will become more possible, where the style was assumed as an aspiration and a symbol of an ecclesiastical recovery; The development of neo-Gothic responded to that context more than to the style's own evolution in the country.[239]​.

Asia

• - Cathedral of Our Lady of the Assumption (Jakarta) "Cathedral of Our Lady of the Assumption (Jakarta)"), Indonesia.

• - Minor Basilica of San Sebastian "Basilica de San Sebastian (Manila)"), Manila, Philippines (1888-1891).

• - Saint Joseph's Cathedral in Hanoi (?-1886).

Other areas

United Kingdom and British colonies.

• - United Kingdom.

• - Salvator Mundi, stained glass window by Edward Burne-Jones.

• - Interior of Fonthill Abbey in 1823.

• - Detail of the interior of the Oxford Natural History Museum.

• - St Mary's Church in Frittenden.

• - Interior of All Saints")[245]​ from Margaret Street (London).

• - Central chapel of Abney Park Cemetery.

• - Manchester Town Hall.

• - John Rylands Library in Manchester.

• - St. Mark's Church, Royal Tunbridge Wells"), by Robert Lewis Roumieu (1866).

• - The Lady Chapel of Liverpool Cathedral, designed by Giles Gilbert Scott and supervised by G F Bodley").

• - Water Tower of Lake Vyrnwy") (Wales).

• - Tower Bridge over the Thames, in London.

• - Town Hall, Manchester.

• - British colonies.

• - Notre-Dame Basilica of Montreal, 1824.

• - Parliament Hill in Ottawa.

• - Basilica of Our Lady Immaculate (Guelph) "Basilica of Our Lady Immaculate (Guelph)") (1875-1883), Ontario, Canada.

• - Cathedral Basilica of Our Lady (Ottawa) "Cathedral Basilica of Our Lady (Ottawa)") (1841-1846).

• - USA.

• - Trinity Church on the Green") in New Haven, from Ithiel Town, 1812-1814.

• - Collegiate Gothic") from Boston College.

• - Reynolds Club") on the University of Chicago campus.

• - Old Louisiana State Capitol") in Baton Rouge.

• - St. Matthew's German Evangelical Lutheran Church") (1872), by John Henry Devereux, in Charleston.

• - St. Patrick's Cathedral (New York).

• - Washington National Cathedral.

• - PPG Place in Pittsburgh.

• - The so-called "carpenter gothic")" (carpenter gothic"))[246]​ in the Unitarian Universalists church of San Mateo, California"), 1905, with the typical abat-sons") on the tower.

• - American Gothic House in Eldon (Iowa), used as a background for the painting American Gothic, by Grant Wood, 1930.

• - Rockefeller College"), Princeton, USA.

• - The Cathedral of St. John the Baptist&action=edit&redlink=1 "Cathedral of St. John the Baptist (Savannah, Georgia) (not yet drafted)"), Savannah (Georgia "Georgia (United States)").

• - PPG Place in Pittsburg.

• - Cyprus.

• - Our Lady of Lysi").

Latin America

• - Argentina.

• - Cathedral of La Plata "Cathedral of the Immaculate Conception (La Plata)"), City of La Plata (1884-1999).

• - Church of San Alfonso "Iglesia de San Alfonso (Salta)"). Jump.

• - Cathedral of San Isidro "Cathedral of San Isidro Labrador (San Isidro)") (?-1898), in San Isidro "San Isidro (Buenos Aires)").

• - University of Buenos Aires, Faculty of Engineering, Las Heras Headquarters"). Autonomous City of Buenos Aires.

• - Basilica of Our Lady of Luján, Province of Buenos Aires (1890-1935).

• - Cathedral of Our Lady of Nahuel Huapi (1944-1947), Bariloche, by Alejandro Bustillo.

• - Basilica María Auxiliadora y San Carlos (Buenos Aires) "Basilica María Auxiliadora y San Carlos (Buenos Aires)") (1900-1910).

• - Colombia.

• - Parish of Our Lady of Chiquinquirá "Church of Our Lady of Chiquinquirá (Bogotá)"), Bogotá.

• - Basilica of Our Lady of Lourdes "Basilica of Our Lady of Lourdes (Bogotá)"), Bogotá.

• - Las Lajas Sanctuary in Ipiales, department of Nariño.

• - Church of Our Lady of Perpetual Help "Church of Our Lady of Perpetual Help (Medellín)"), Medellín.

• - Rafael Uribe Uribe Palace of Culture, Medellín.

• - Church of Our Lady of the Rosary "Church of Our Lady of the Rosary (Donmatías)") in Donmatías, Antioquia.

• - Chili.

• - Church of the Infant Jesus of Prague, Independencia, Santiago.

• - Basilica of Our Lady of Perpetual Help. Santiago.

• - Basilica of the Savior, Santiago.

• - Church of Mary Help of Christians of National Gratitude, Santiago.

• - San Francisco de Castro Church "Church of San Francisco (Castro)"). Chiloé.

• - Ecuador.

• - Basilica of the National Vote in Quito.

• - Church of Santa Teresita "Iglesia de Santa Teresita (Quito)") in Quito.

• - Basilica of Our Lady of La Merced in Guayaquil.

• - Cuenca Cathedral "Cathedral of Cuenca (Ecuador)").

• - Basilica of El Cisne, province of Loja.

• - El Salvador, Uruguay.

• - Cathedral of Santa Ana "Cathedral of Santa Ana (El Salvador)"), El Salvador.

• - Virgen del Carmen y Santa Teresita"), popularly known as the Church of the Carmelites in Montevideo, Uruguay.

• - Peru.

• - Cristo Pobre Chapel, in Jauja.

• - Cathedral of San Juan Bautista, in Iquitos.

• - Venezuela.

• - Basilica Menor Santa Capilla, Caracas.

• - Chapel of Our Lady of Lourdes "Chapel of Our Lady of Lourdes (Caracas)"), Caracas.

• - Palace of the Academies, Caracas.

• - Christian Amalvi, Le Goût du moyen âge, (Paris: Plon), 1996. The first French monograph on French Gothic Revival.

• - "Le Gothique retrouvé" avant Viollet-le-Duc. Exhibition, 1979. The first French exhibition concerned with French Neo-Gothic.

• - Hunter-Stiebel, Penelope, Of knights and spiers: Gothic revival in France and Germany, 1989. ISBN 0-614-14120-6.

• - Phoebe B Stanton, Pugin (New York, Viking Press 1972, ©1971). ISBN 0-670-58216-6.

• - Summerson, Sir John, 1948. "Viollet-le-Duc and the rational point of view" collected in Heavenly Mansions and other essays on Architecture.

• - Sir Thomas G. Jackson"), Modern Gothic Architecture (1873), Byzantine and Romanesque Architecture (1913), and three-volume Gothic Architecture in France, England and Italy (1915).

• - Wikimedia Commons hosts a multimedia gallery on Neo-Gothic Architecture.

• - Victoria and Albert Museum Style Guide.

• - Basilique Sainte-Clotilde, Paris.

• - Canada by Design: Parliament Hill, Ottawa at Library and Archives Canada.

• - Books, Research and Information.

• - Gothic Revival in Hamilton, Ontario Canada.

• - Proyecto Documenta's entries for neo-Gothic elements at the Valparaíso's churches.

• - Toronto's Sanctuaries: Church Designs by Henry Langley Archived July 3, 2010 at the Wayback Machine.