Neo-Romanesque or Norman revival in Great Britain

In the United Kingdom, neo-Romanesque falls within what is now known as Victorian architecture. The building of the Natural History Museum in London, the work of Alfred Waterhouse, built in 1873-1880, is one of the most significant examples.

The development of the Norman revival style took place for a long time in the British Isles, and antecedents can be traced from the refenestration carried out by Inigo Jones in the White Tower of the Tower of London (1637-1638) or in the work on Hugh May's Windsor Castle for Charles II of England, although these works were little more than mere restoration work. In the century the use of round or semicircular arch windows was thought which was a feature of Saxon rather than Norman architecture and there are already examples of buildings with round-arched windows, such as Shirburn Castle in Oxfordshire, Wentworth Castle in Yorkshire, or Enmore Castle in Somerset.

In Scotland, the style began to emerge with the Duke of Argyl's castle at Inverary"), begun in 1744, and in the various castles designed by Robert Adam, at Culzean (1771), at Oxenfoord (1780-1782), at Dalquharran (1782-1785) or at Seton Palace") (1792). In England, James Wyatt already used round-arched windows in Sandleford Priory (1780-1789) in Berkshire. Then the Duke of Norfolk began the reconstruction of Arundel Castle, while Eastnor Castle in Herefordshire was built by Robert Smirke between 1812 and 1820.[5]

It was at this time that the Norman revival became a recognizable architectural style. When Thomas Rickman published his work An Attempt to Discriminate the Styles of English Architecture from the Conquest To the Reformation in 1817, it was clear that in the British Isles round-arch architecture was largely Romanesque and was already described as Norman rather than Saxon.[6] The beginning of a Norman revival archaeologically correct can be recognized in the architecture of Thomas Hopper"). His first attempt was at Gosford Castle, in Armagh (Ireland), but his Penrhyn Castle"), near Bangor, in North Wales, was much more successful. This was built for the Pennant family, between 1820 and 1837. The style was not successful for domestic buildings, although many country houses and mock castles were built in the Castilian or crenellated Gothic style (Castle Gothic or Castellated style) during the Victorian period, which was a mixed Gothic Revival style.[7]​.

However, the Norman revival was successful in ecclesial architecture. It was Thomas Penson"), a Welsh architect familiar with Hopper's work at Penrhyn, who developed neo-Romanesque ecclesial architecture. Penson was influenced by French and Belgian Romanesque architecture, and in particular by the early Romanesque phase of German Brick Gothic. In St David's Newtown (1843-1847) and St Agaha of Llanymynech (1845) he was inspired by the tower of St Saviour's Cathedral. Witches"). Other examples of Penson neo-Romanesque are Christ Church, Welshpool (1839-1844), and the porch of Langedwyn Church. He was an innovator in the use of terracotta to make Romanesque decorations, saving costs instead of making them in onerous stone work.[8] Penson's last church in the neo-Romanesque style was Rhosllannerchrugog, in Wrexham (1852).[9]​.

The Romanesque adopted by Penson contrasts with the Italian neo-Romanesque style of other architects such as Thomas Henry Wyatt"), who designed the church of St Mary and St Nicholas (1841-1844), in this style in Wilton "Wilton (Wiltshire)") built by the Countess of Pembroke and her son, Lord Herbert de Lea.[10] In the century the architecture selected for Anglican churches depended on the rectories of the congregations While the tall and Anglo-Catholic churches of the period, influenced by the Oxford movement, were built in the Gothic Revival style, the lower churches and broad churches often employed the Neo-Romanesque style. Some later examples of this Neo-Romanesque architecture are seen in Non-Conformist or Dissident churches and chapels. the architects of Lincoln Drury and Mortimer").[11]​ More or less from 1870 this style disappeared in ecclesial architecture in Great Britain, being succeeded in the century by the Neo-Byzantine.

Poland

In the neo-Romanesque style, mainly churches were erected and also (less frequently) other public buildings, for example, theaters. The decorative elements of Byzantine architecture were often combined with European Romanesque forms. The projections of Neo-Romanesque churches were most often inspired by the designs of Gothic churches more suited to liturgical needs, or in the case of Protestant churches, took the central projection. After the First World War, many examples of this architecture disappeared in Poland.

Netherlands

Also in the Netherlands, Neo-Romanesque was mainly based on late variants of the Romanesque style. In the second half of the century, several neo-Roman Catholic churches were already established, including some works by Adrianus Bleijs") (1842-1912) and the impressive domed churches, often called neo-Roman-Gothic, of Carl Weber&action=edit&redlink=1 "Carl Weber (architect) (not yet drafted)") (1820-1908). These neo-Romanesque churches, without However, they were exceptions amidst the dominant Neo-Gothic style. The style only really flourished after the turn of the century, when architects such as Jos Cuypers" (1861-1949) and Jan Stuyt (1868-1934) increasingly moved away from the Neo-Gothic and began to incorporate Romanesque influences into their designs, an example also found among some Neo-Gothic architects, such as Caspar Franssen"). (1860-1932), found some imitation. In the province of Limburg, in particular, the neo-Romanesque style was of great importance as a transitional style. In Nijmegen there is the Titus Brandsma Gedachteniskerk"), a Romanesque-style Catholic church designed by the local architect B.J.C. Claase") (1862-1919).

Belgium

Unlike in the Netherlands, the neo-Gothic style was never so dominant in Belgium that the use of other styles in church construction was practically impossible. From about 1870, several important Neo-Romanesque churches were built, including in the towns of Spa "Spa (Belgium)") and Rochefort "Rochefort (Belgium)"), in a late Romanesque style.

France

In France, it was Eugène Viollet-le-Duc who, after the publication of his Dictionnaire, launched a sustained movement in favor of the vocabulary of medieval forms. Thanks to his knowledge of medieval styles, he first worked on large restoration works (Basilica of Saint Mary Magdalene of Vézelay, Basilica of Saint Sernin), in which he often proposed a re-creation of models that did not exist, before arousing a large number of followers. An example of this style is the Dobrée" museum in Nantes, built from 1862 to house the art collections of Thomas Dobrée" (1810-1895).

Many churches were built inspired by more or less interpreted Romanesque models, including a Byzantine Romanesque style, which will be a great success (Basilica of the Sacred Heart of Montmartre in Paris "Basilica of the Sacred Heart (Paris)") by Paul Abadie, who had participated in the restoration of Saint-Sernin). Other notable examples are the cathedral of Marseille, the church of Saint Denys in Argenteuil&action=edit&redlink=1 "Argenteuil (Val-d'Oise) (not yet written)") (1862-1865) and the church of Our Lady of the Assumption in Villefranche-du-Périgord, also by Paul Abadie (1864-1869).

As part of the prussification of the Reichsland (Elsass-Lothringen), cities and towns were provided with new public buildings. Several monuments in Metz (the central post office), the railway station (1905-08), the New Temple (1901-1904) are in the neo-Romanesque (but also Jugendstil) style. In Carling, the Ottonian neo-Romanesque Catholic church of Saint-Gérard Majella was built between 1906 and 1908 under the direction of architect Klein.

Italy

As in France, in Italy the Neo-Romanesque focused mainly on the restoration of existing buildings, with the reconstruction of the facades of numerous churches (for example, for the church of San Babila") and that of Santa Eufemia&action=edit&redlink=1 "Basilica of Santa Eufemia (Milan) (not yet redacted)") in Milan, or the facade of the cathedral of Cagliari, 1933); there is no shortage of ex novo buildings such as the Museum Civic Museum of Natural History of Milan "Civic Museum of Natural History (Milan"), designed by Giovanni Ceruti") in 1893, the cathedral of Reggio Calabria") and that of the Co-Cathedral of San Nicola de Palmi (1910-1932) rebuilt after the earthquake of 1908").

Examples of late use of the Romanesque style, although most often mixed with other elements, are also found in the Fascist period (Tripoli Cathedral, Asmara Cathedral&action=edit&redlink=1 "Church of the Blessed Virgin of the Rosary (Asmara) (not yet drafted"), Pescara Cathedral").

The most representative architects were V. de Castro, Pietro Selvatico") and Camillo Boito.

Lithuania

Neo-Romanesque was much less popular in Lithuania than other historicist styles. Only a few Lithuanian churches can be unquestionably classified as pure neo-Romanesque. However, in many neo-Gothic and historic cult buildings, many characteristic features of the neo-Romanesque are surprising and are often creatively combined with typical Gothic elements. The most prominent and probably the purest examples of this style are the churches of Lentvaris and Rietavas. They have characteristic Italian-style bells - campaniles - and have a basilica design. Neo-Romanesque was most evident in the architecture of the brick-style evangelical churches in Lithuania Minor, Vyžiai, Vilkyškiai and Sauga. Other Lithuanian neo-Romanesque churches are:

USA

The Church of the Pilgrims, now the Maronite Cathedral of Our Lady of Lebanon "Cathedral of Our Lady of Lebanon (Brooklyn), in Brooklyn Heights, Brooklyn"), designed by Richard Upjohn and built between 1844 and 1846, is generally considered the first work of neo-Romanesque architecture in the United States. built between 1847 and 1851. Renwick reportedly submitted two proposals to the design competition, one neo-Gothic and one in the neo-Romanesque style. The Smithsonian chose the latter, which was based on designs from German architectural books.[14]

Several concurrent forces contributed to the popularization of the Romanesque Revival in the United States. The first was an influx of German immigrants in the 1840s, who brought with them the Rundbogenstil style.[14] Secondly, a number of works on the style were published at the same time as the first built examples. The first of these, *Hints on Public Architecture, written by social reformer Robert Dale Owen in 1847-1848, was prepared for the Smithsonian Institution Building Committee and featured prominent illustrations of Renwick's Smithsonian Institution building. Owen argued that Greek Revival architecture, then the predominant style in the United States for everything from churches to banks to private residences, was unsuitable as the American national style. He argued that Greek temples on which the style was based did not have the windows, chimneys or stairs required by modern buildings, and that the low-sloped temple roofs and high colonnades were not suited to the cold climates of the north. For Owen, most Greek Revival buildings lacked architectural truth, because they attempted to hide the needs of the century behind the facades of classical temples.[15] Instead, he offered that the neo-Romanesque style. It was ideal for a more flexible and economical American architecture.[16]​.

Shortly thereafter, in 1853, the Congregational Church published A Book of Plans for Churches and Parsonages, which included 18 designs by 10 architects, including Upjohn, Renwick, Henry Austin&action=edit&redlink=1 Storrs") and other clergy on the book committee were members or frequent preachers of the Upjohn Pilgrim Church.[17] St. Joseph's Church in Hammond, Indiana, is neo-Romanesque.[18]

The most important and influential American architect of this era was Henry Hobson Richardson, who developed a style of architecture loosely inspired by the Romanesque, known even in the United States as the Richardsonian Romanesque style, derived from examples established by him, such as Trinity Church "Trinity Church (Boston)") (1872-1877) in Boston and Sever Hall and Austin Hall at Harvard University.[19]

Basilica of the National Shrine of the Immaculate Conception

The Basilica of the National Shrine of the Immaculate Conception is a Catholic minor basilica and national shrine located in Washington, D.C.. The shrine is the largest Catholic church in North America, one of the largest churches in the world,[20]​ and the tallest habitable building in Washington, D.C.[21]​[22][23]​ Its neo-Byzantine and neo-Romanesque construction began on September 23, 1920, with renowned contractor John McShain and was completed on December 8, 2017, with the dedication and solemn blessing of the Trinity Dome mosaic on December 8, 2017, the feast of the Immaculate Conception, by Cardinal Donald William Wuerl.[24]​.

Canada

Two of the institutional buildings of Canada's provincial legislatures, the Ontario Legislative Building in Toronto and the British Columbia Parliament Buildings in Victoria (Victoria, British Columbia), are in the Romanesque Revival style. Also the University College&action=edit&redlink=1 "University College (Toronto) (not yet drafted), one of the seven colleges of the University of Toronto," is an example of the neo-Romanesque style.[25]​ Construction of the final design began on October 4, 1856.[26]​.

Examples of neo-Romanesque architecture in America

Some examples of the neo-Romanesque are the Cathedral of Medellín, in Colombia; and Church of the Sacramentinos in Santiago de Chile.

Neo-Romanesque or Norman revival in Great Britain

In the United Kingdom, neo-Romanesque falls within what is now known as Victorian architecture. The building of the Natural History Museum in London, the work of Alfred Waterhouse, built in 1873-1880, is one of the most significant examples.

The development of the Norman revival style took place for a long time in the British Isles, and antecedents can be traced from the refenestration carried out by Inigo Jones in the White Tower of the Tower of London (1637-1638) or in the work on Hugh May's Windsor Castle for Charles II of England, although these works were little more than mere restoration work. In the century the use of round or semicircular arch windows was thought which was a feature of Saxon rather than Norman architecture and there are already examples of buildings with round-arched windows, such as Shirburn Castle in Oxfordshire, Wentworth Castle in Yorkshire, or Enmore Castle in Somerset.

In Scotland, the style began to emerge with the Duke of Argyl's castle at Inverary"), begun in 1744, and in the various castles designed by Robert Adam, at Culzean (1771), at Oxenfoord (1780-1782), at Dalquharran (1782-1785) or at Seton Palace") (1792). In England, James Wyatt already used round-arched windows in Sandleford Priory (1780-1789) in Berkshire. Then the Duke of Norfolk began the reconstruction of Arundel Castle, while Eastnor Castle in Herefordshire was built by Robert Smirke between 1812 and 1820.[5]

It was at this time that the Norman revival became a recognizable architectural style. When Thomas Rickman published his work An Attempt to Discriminate the Styles of English Architecture from the Conquest To the Reformation in 1817, it was clear that in the British Isles round-arch architecture was largely Romanesque and was already described as Norman rather than Saxon.[6] The beginning of a Norman revival archaeologically correct can be recognized in the architecture of Thomas Hopper"). His first attempt was at Gosford Castle, in Armagh (Ireland), but his Penrhyn Castle"), near Bangor, in North Wales, was much more successful. This was built for the Pennant family, between 1820 and 1837. The style was not successful for domestic buildings, although many country houses and mock castles were built in the Castilian or crenellated Gothic style (Castle Gothic or Castellated style) during the Victorian period, which was a mixed Gothic Revival style.[7]​.

However, the Norman revival was successful in ecclesial architecture. It was Thomas Penson"), a Welsh architect familiar with Hopper's work at Penrhyn, who developed neo-Romanesque ecclesial architecture. Penson was influenced by French and Belgian Romanesque architecture, and in particular by the early Romanesque phase of German Brick Gothic. In St David's Newtown (1843-1847) and St Agaha of Llanymynech (1845) he was inspired by the tower of St Saviour's Cathedral. Witches"). Other examples of Penson neo-Romanesque are Christ Church, Welshpool (1839-1844), and the porch of Langedwyn Church. He was an innovator in the use of terracotta to make Romanesque decorations, saving costs instead of making them in onerous stone work.[8] Penson's last church in the neo-Romanesque style was Rhosllannerchrugog, in Wrexham (1852).[9]​.

The Romanesque adopted by Penson contrasts with the Italian neo-Romanesque style of other architects such as Thomas Henry Wyatt"), who designed the church of St Mary and St Nicholas (1841-1844), in this style in Wilton "Wilton (Wiltshire)") built by the Countess of Pembroke and her son, Lord Herbert de Lea.[10] In the century the architecture selected for Anglican churches depended on the rectories of the congregations While the tall and Anglo-Catholic churches of the period, influenced by the Oxford movement, were built in the Gothic Revival style, the lower churches and broad churches often employed the Neo-Romanesque style. Some later examples of this Neo-Romanesque architecture are seen in Non-Conformist or Dissident churches and chapels. the architects of Lincoln Drury and Mortimer").[11]​ More or less from 1870 this style disappeared in ecclesial architecture in Great Britain, being succeeded in the century by the Neo-Byzantine.

Poland

In the neo-Romanesque style, mainly churches were erected and also (less frequently) other public buildings, for example, theaters. The decorative elements of Byzantine architecture were often combined with European Romanesque forms. The projections of Neo-Romanesque churches were most often inspired by the designs of Gothic churches more suited to liturgical needs, or in the case of Protestant churches, took the central projection. After the First World War, many examples of this architecture disappeared in Poland.

Netherlands

Also in the Netherlands, Neo-Romanesque was mainly based on late variants of the Romanesque style. In the second half of the century, several neo-Roman Catholic churches were already established, including some works by Adrianus Bleijs") (1842-1912) and the impressive domed churches, often called neo-Roman-Gothic, of Carl Weber&action=edit&redlink=1 "Carl Weber (architect) (not yet drafted)") (1820-1908). These neo-Romanesque churches, without However, they were exceptions amidst the dominant Neo-Gothic style. The style only really flourished after the turn of the century, when architects such as Jos Cuypers" (1861-1949) and Jan Stuyt (1868-1934) increasingly moved away from the Neo-Gothic and began to incorporate Romanesque influences into their designs, an example also found among some Neo-Gothic architects, such as Caspar Franssen"). (1860-1932), found some imitation. In the province of Limburg, in particular, the neo-Romanesque style was of great importance as a transitional style. In Nijmegen there is the Titus Brandsma Gedachteniskerk"), a Romanesque-style Catholic church designed by the local architect B.J.C. Claase") (1862-1919).

Belgium

Unlike in the Netherlands, the neo-Gothic style was never so dominant in Belgium that the use of other styles in church construction was practically impossible. From about 1870, several important Neo-Romanesque churches were built, including in the towns of Spa "Spa (Belgium)") and Rochefort "Rochefort (Belgium)"), in a late Romanesque style.

France

In France, it was Eugène Viollet-le-Duc who, after the publication of his Dictionnaire, launched a sustained movement in favor of the vocabulary of medieval forms. Thanks to his knowledge of medieval styles, he first worked on large restoration works (Basilica of Saint Mary Magdalene of Vézelay, Basilica of Saint Sernin), in which he often proposed a re-creation of models that did not exist, before arousing a large number of followers. An example of this style is the Dobrée" museum in Nantes, built from 1862 to house the art collections of Thomas Dobrée" (1810-1895).

Many churches were built inspired by more or less interpreted Romanesque models, including a Byzantine Romanesque style, which will be a great success (Basilica of the Sacred Heart of Montmartre in Paris "Basilica of the Sacred Heart (Paris)") by Paul Abadie, who had participated in the restoration of Saint-Sernin). Other notable examples are the cathedral of Marseille, the church of Saint Denys in Argenteuil&action=edit&redlink=1 "Argenteuil (Val-d'Oise) (not yet written)") (1862-1865) and the church of Our Lady of the Assumption in Villefranche-du-Périgord, also by Paul Abadie (1864-1869).

As part of the prussification of the Reichsland (Elsass-Lothringen), cities and towns were provided with new public buildings. Several monuments in Metz (the central post office), the railway station (1905-08), the New Temple (1901-1904) are in the neo-Romanesque (but also Jugendstil) style. In Carling, the Ottonian neo-Romanesque Catholic church of Saint-Gérard Majella was built between 1906 and 1908 under the direction of architect Klein.

Italy

As in France, in Italy the Neo-Romanesque focused mainly on the restoration of existing buildings, with the reconstruction of the facades of numerous churches (for example, for the church of San Babila") and that of Santa Eufemia&action=edit&redlink=1 "Basilica of Santa Eufemia (Milan) (not yet redacted)") in Milan, or the facade of the cathedral of Cagliari, 1933); there is no shortage of ex novo buildings such as the Museum Civic Museum of Natural History of Milan "Civic Museum of Natural History (Milan"), designed by Giovanni Ceruti") in 1893, the cathedral of Reggio Calabria") and that of the Co-Cathedral of San Nicola de Palmi (1910-1932) rebuilt after the earthquake of 1908").

Examples of late use of the Romanesque style, although most often mixed with other elements, are also found in the Fascist period (Tripoli Cathedral, Asmara Cathedral&action=edit&redlink=1 "Church of the Blessed Virgin of the Rosary (Asmara) (not yet drafted"), Pescara Cathedral").

The most representative architects were V. de Castro, Pietro Selvatico") and Camillo Boito.

Lithuania

Neo-Romanesque was much less popular in Lithuania than other historicist styles. Only a few Lithuanian churches can be unquestionably classified as pure neo-Romanesque. However, in many neo-Gothic and historic cult buildings, many characteristic features of the neo-Romanesque are surprising and are often creatively combined with typical Gothic elements. The most prominent and probably the purest examples of this style are the churches of Lentvaris and Rietavas. They have characteristic Italian-style bells - campaniles - and have a basilica design. Neo-Romanesque was most evident in the architecture of the brick-style evangelical churches in Lithuania Minor, Vyžiai, Vilkyškiai and Sauga. Other Lithuanian neo-Romanesque churches are:

USA

The Church of the Pilgrims, now the Maronite Cathedral of Our Lady of Lebanon "Cathedral of Our Lady of Lebanon (Brooklyn), in Brooklyn Heights, Brooklyn"), designed by Richard Upjohn and built between 1844 and 1846, is generally considered the first work of neo-Romanesque architecture in the United States. built between 1847 and 1851. Renwick reportedly submitted two proposals to the design competition, one neo-Gothic and one in the neo-Romanesque style. The Smithsonian chose the latter, which was based on designs from German architectural books.[14]

Several concurrent forces contributed to the popularization of the Romanesque Revival in the United States. The first was an influx of German immigrants in the 1840s, who brought with them the Rundbogenstil style.[14] Secondly, a number of works on the style were published at the same time as the first built examples. The first of these, *Hints on Public Architecture, written by social reformer Robert Dale Owen in 1847-1848, was prepared for the Smithsonian Institution Building Committee and featured prominent illustrations of Renwick's Smithsonian Institution building. Owen argued that Greek Revival architecture, then the predominant style in the United States for everything from churches to banks to private residences, was unsuitable as the American national style. He argued that Greek temples on which the style was based did not have the windows, chimneys or stairs required by modern buildings, and that the low-sloped temple roofs and high colonnades were not suited to the cold climates of the north. For Owen, most Greek Revival buildings lacked architectural truth, because they attempted to hide the needs of the century behind the facades of classical temples.[15] Instead, he offered that the neo-Romanesque style. It was ideal for a more flexible and economical American architecture.[16]​.

Shortly thereafter, in 1853, the Congregational Church published A Book of Plans for Churches and Parsonages, which included 18 designs by 10 architects, including Upjohn, Renwick, Henry Austin&action=edit&redlink=1 Storrs") and other clergy on the book committee were members or frequent preachers of the Upjohn Pilgrim Church.[17] St. Joseph's Church in Hammond, Indiana, is neo-Romanesque.[18]

The most important and influential American architect of this era was Henry Hobson Richardson, who developed a style of architecture loosely inspired by the Romanesque, known even in the United States as the Richardsonian Romanesque style, derived from examples established by him, such as Trinity Church "Trinity Church (Boston)") (1872-1877) in Boston and Sever Hall and Austin Hall at Harvard University.[19]

Basilica of the National Shrine of the Immaculate Conception

The Basilica of the National Shrine of the Immaculate Conception is a Catholic minor basilica and national shrine located in Washington, D.C.. The shrine is the largest Catholic church in North America, one of the largest churches in the world,[20]​ and the tallest habitable building in Washington, D.C.[21]​[22][23]​ Its neo-Byzantine and neo-Romanesque construction began on September 23, 1920, with renowned contractor John McShain and was completed on December 8, 2017, with the dedication and solemn blessing of the Trinity Dome mosaic on December 8, 2017, the feast of the Immaculate Conception, by Cardinal Donald William Wuerl.[24]​.

Canada

Two of the institutional buildings of Canada's provincial legislatures, the Ontario Legislative Building in Toronto and the British Columbia Parliament Buildings in Victoria (Victoria, British Columbia), are in the Romanesque Revival style. Also the University College&action=edit&redlink=1 "University College (Toronto) (not yet drafted), one of the seven colleges of the University of Toronto," is an example of the neo-Romanesque style.[25]​ Construction of the final design began on October 4, 1856.[26]​.

Examples of neo-Romanesque architecture in America

Some examples of the neo-Romanesque are the Cathedral of Medellín, in Colombia; and Church of the Sacramentinos in Santiago de Chile.