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Neo-Gothic (15)

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Gothic Revival (also referred to as Victorian Gothic, neo-Gothic, or Gothick) is an architectural movement that began in the late 1740s in England. The movement gained momentum and expanded in the first half of the 19th century, as increasingly serious and learned admirers of the neo-Gothic styles sought to revive medieval Gothic architecture, intending to complement or even supersede the neoclassical styles prevalent at the time. Gothic Revival draws upon features of medieval examples, including decorative patterns, finials, lancet windows, and hood moulds. By the middle of the 19th century, Gothic had become the preeminent architectural style in the Western world, only to fall out of fashion in the 1880s and early 1890s.

Gothic Revival architecture - Wikipedia

Showing Data Points related to the Word Neo-Gothic

Data Points with Word "Neo-Gothic"

Some sources suggest that as early as 1765, the Piran town council considered relocating the graveyard from its current location in the parish garden to a site outside the town walls. However, the new graveyard was not constructed until the Napoleonic period in 1812, following plans by Pietro Gregoretti. In the 1860s, during a significant expansion of the graveyard, architect Giuseppe Moso designed the graveyard church of St. Hermagoras and Fortunatus, along with the entrance vestibule, in a typical neo-Gothic style. These structures were consecrated by Monsignor Bartolomeo Legat, the bishop of Trieste and Koper, in 1862.

The compound comprising the Evangelical church and adjacent structures was erected between 1907 and 1910, designed in the neo-Gothic style by Ernö Gerey. Crafted from brick, the church boasts three frontal towers, with the central tower soaring as a lofty bell tower. Adorning the main entrance, a window rosette repeats in the altar section, showcasing an image of Martin Luther. Inside, a ribbed ceiling is supported by pillars, sustaining side balconies and an organ gallery above the entrance. Samu Shöck from Murska Sobota executed the interior paintings in 1933 as envisioned by the architect, while the altar's Descent from the Cross was painted by Jenö Bory of Budapest. Positioned amidst two single-story edifices, accentuated corners and triangular roof facades define these structures, serving as the presbytery and choirmaster's residence, featuring window niches and turrets.

Sigulda Castle, also referred to as Sigulda New Castle (Siguldas jaunā pils in Latvian), was constructed in 1878, showcasing the neo-Gothic architectural style. Originally intended as the residence for the Kropotkin family, owners of the manor, its ownership and purpose underwent multiple alterations over time. Since 1993, the Sigulda Region Council has been situated within the castle's premises.The Sigulda manor's focal point, evolving from the Sigulda Medieval Castle's fore-castle during the 17th century, boasts 18th and 19th-century structures linked to the Von Borghs and Kropotkins. Notable among these are the Summer Castle, New Castle, White Castle, vagar's house, servants' quarters, a barn, laundry, and a fruit and vegetable cellar. Enclosed by rugged boulder walls and a grand gate structure, this central area retains historical charm. The New Castle, constructed between 1878 and 1881 during Duchess Olga and Duke Dimitry Kropotkins' tenure, reused materials from a 17th-century predecessor. Built in neo-Gothic style by Jānis Mengelis, its architectural value lies in Gothic elements and the hues of repurposed boulders. The panoramic view from its windows encompasses the Gauja River valley, Sigulda castle ruins, Krimulda, and Turaida. Following World War I, the castle was destroyed, later becoming the Writers’ Castle in 1922, hosting literary figures and undergoing substantial restoration. In 1934, the Latvian Press Society acquired the castle, initiating significant reconstruction led by architect August Birkhans in 1936–1937. The tower was heightened, the terrace expanded, and modern interior design introduced, shaping it into a prominent example of national modern design in the Baltic region. The monument of Atis Kronvalds was unveiled in 1938. Post-war, it served various purposes, including housing for high state officials and a rehabilitation center until Latvian independence restoration. From 1993 to 2002, it housed the Sigulda City Council, transitioning to the Sigulda District Council from 2003 onwards. The adjacent Summer Castle, fashioned in classicism style, initially served as an orthodox church before being remodeled for various uses. Additionally, the former brewery was transformed into an art gallery within the Sigulda manor.

Since 1778, an Evangelical community of the Augustan Confession has thrived in Trieste, drawing a receptive middle class to Lutheran Reformation teachings. Lutheran merchants initially arrived in 1719, but formal religious services were authorized only in 1778 by Empress Maria Theresa and later Joseph II. In 1786, they acquired Our Lady of the Rosary church, reselling it in 1870 to fund the current Evangelical Lutheran church's construction in neo-Gothic style. The church, designed by architect Zimmermann, features a grand pointed bell tower, slate roofs, and a stunning stained glass choir window depicting Raphael's Transfiguration of Christ. Services in German and Italian are held alternately on Sundays, reflecting the community's language diversity.

The lighthouse, positioned at Piran city's peninsula tip, rests on a Venetian wall bastion, likely restructured between the 16th and 17th centuries from a medieval structure. Notably, it displays coats of arms from 1617 and a 19th-century upper structure. Originally oil-powered, it now operates on electricity, being the sole lighthouse on Slovenia's coast, with a visibility of 11 nautical miles. The complex includes a neo-Gothic bell tower, the oldest in Slovenia, restored in 2008. Adjacent is the Baroque Our Lady of Health Church - Cerkev Marije Zdravja, built in the 18th century on an earlier church dedicated to Saint Clemente, protector of sailors. Notably, its original bas-relief resides in Saint George's church museum.

Republicii Street, known as the Gate Street in the medieval town of Brasov, holds historical significance as the main thoroughfare. An emblem of antiquity, the Drugstore Jekelius (located at no. 17) was constructed in the XVIth century, standing at the intersection with the present-day Michael Weiss Street, historically referred to as Nuns' Street in the Middle Ages due to its association with the Saint John Monastery, documented since the XVth century and later entrusted to the Franciscan Order during the XVIIIth century. On the southern side of Republicii Street, notable residences once stood, including the Hirscher family residence, replaced in 1908 by the Saxon National Bank headquarters, meticulously designed by the architect Albert Schuller of Brasov (at Michael Weiss Street 22). Albert Schuller also lent his design expertise to the construction of Hotel Coroana (The Crown) (1909-1910, at no. 62), embodying the '1900s style' in the German Jugendstil fashion for Brasov. Another contemporary architectural gem is the House of shoemaker Heinrich Bahmüller (at no. 16, 1906), where the façade resonates with the Viennese Sezessionul style, while the adornments of the house at no. 10 (1902) amalgamate neo-Gothic architecture with elements of the new style. The iconic House of confectioner Montaldo, also known as Tortenhaus (at no. 14), stands as a landmark building in the town, designed by architect Peter Bartesch in 1864. This building later became the residence of Baross hotel. At the eastern end of Republicii Street once stood the principal town gate, dismantled in the XIXth century along with the north-eastern fortifications of Brasov's Stronhold. Beyond the fortified wall's former location, where executions and witch burnings transpired in the Middle Ages, new administrative edifices were erected, such as The Finances Palace (1897-1898, now the City Hall), The Justice Palace (1902, presently the Prefecture), and The Post Palace (1906). Progressing from Portica towards Warthe, notable constructions include Vila Kertsch (1887, demolished in 1970), The Artisans Association's House (1902, now the Museum of Art), Vila Schuller (1896, deconstructed in 1962), The State Humanistic Superior School (1888-1889, now the T wing of the University), and The Reformed Church (1891-1892, designed by architect Alpár Ignátz), which was later demolished in 1963 to accommodate the new wing of 'Aro Palace' Hotel, planned by architect Iancu Rădăcină, and the modernist-styled construction by renowned international architect Horia Creangă, completed between 1938-1939. These newer edifices form a boundary towards the 'Stronghold' Rudolf Boulevard (Rudolfsring, later Carol I Boulevard, presently Heroes Boulevard), situated along the medieval defense ditch on the north-eastern side.

The parochial church of 'Ancient Brasov,' situated near Sprenghi Hill, is the oldest historical monument in the town. It was rebuilt after the Tartar invasion of 1241 and combines early Gothic architectural elements with a basilica-like layout, featuring three connected aisles, a transept, and a choir with a polygonal apse. The church's sanctuary and extensions exhibit characteristic narrow windows with circular poly-lobe rosaries and carved stone details in the Cistercian architectural style. Ottoman attacks in 1421 and 1438 led to the reconstruction of the vaults in the aisles and transept. Further renovations occurred between 1634 and 1663, and two towers were initially planned on the western side, with only one being completed in its current form in 1842. Additionally, a neo-Gothic parochial house was constructed in 1905.

The Bridge of Lies (known as 'Podul Minciunilor' in Romanian and 'Lügenbrücke' in German) holds a legendary status as a pedestrian bridge situated in the heart of Sibiu, a Transylvanian city in central Romania. This bridge has amassed a collection of myths due to its intriguing name. It is noteworthy as Romania's inaugural cast iron bridge construction. Nestled within the Lesser Square of Sibiu, the bridge spans Strada Ocnei, linking the Lesser Square with the Huet Square. The bridge's structural integrity relies on four cast iron arches, each adorned with neo-Gothic motifs. The southernmost arch proudly showcases Sibiu's coat of arms, while the northernmost arch bears inscriptions reading '1859' and 'Friedrichshütte' respectively. The latter refers to the foundry responsible for delivering a portion of the bridge's components. The bridge's rails consist of eight panels, featuring circular patterns complemented by intricate Gothic embellishments.LegendsThe Bridge of Lies in Sibiu, Romania, is enveloped in numerous legends due to its name. A prevalent legend claims that the bridge will collapse if a person tells a lie while on it. Other tales recount how merchants deceived clients and were thrown off the bridge if caught. The bridge was also a meeting spot for military academy boys and their girlfriends, where broken promises left the girls waiting. Young lovers who vowed eternal love were said to face punishment if their pre-marital claims were false. One legend suggests that beneath the bridge lay a lake inhabited by freshwater mermaids who deceived their merman partners to rendezvous with mortal lovers above, leaping into the water afterward. Interestingly, the bridge's name originates from 'Liegenbrücke,' German for 'lying bridge' in the sense of reclining, which sounds like 'Lügenbrücke,' meaning 'bridge of lies.' These legends have contributed to the spread of the latter name among the city's inhabitants, ultimately shaping the bridge's current title.

The following comprehensive excerpt is derived from an article that is likely one of the most informative resources available online for gaining a deep understanding of the Arad City Hall in Romania. This article delves into the historical, architectural, and cultural significance of the Arad City Hall, offering insights into its evolution over time and its role as a pivotal economic, social, and cultural hub within the city of Arad. Through this article, readers can explore the diverse architectural styles, the context of its construction, and its enduring influence on the local community. Furthermore, the text provides a vivid narrative that covers various aspects of the Arad City Hall, making it an invaluable resource for those seeking a comprehensive exploration of this iconic structure's rich history.The Arad City Hall is a central hub for economic, social, and cultural activities, strategically positioned at a key crossroads in Arad. Its architecture blends various styles, including Baroque, neo-Gothic, Renaissance, and Secession. Constructed from 1872 to 1877, the City Hall has historical roots tracing back to the 17th century. Originally, separate city halls served Arad's 'German City' and 'Serbian City,' but growth led to their replacement. Under Austrian rule, the cities united in 1747, propelling Arad's development as a Western city. The third city hall, built in 1770, witnessed significant events. In 1872, plans for a new City Hall coincided with a modern theater's construction. Hungarian architect Ödön Lechner's design was chosen from 17 submissions. Financial constraints led to changes directed by Arad architect Ferenc Pekár. The U-shaped building with Flemish city hall influences features intricate ornamentation, including the Arad City crest. Inside, there's a spacious entrance hall, marble stairs to the first floor, and a festive hall adorned with Murano stained glass depicting seasons. Despite restorations, the building's essence remains. It played crucial roles in city events, including the 1919 Romanian administration installation and the 1989 revolution. Today, the administrative palace houses the city hall and county's prefecture. The square in front hosts various events, affirming its relevance. The City Hall stands as a testament to Arad's evolution and architectural heritage, preserving its legacy for future generations.

The Historical and Architectural Landmark known as the Red Church is located within the municipality of Arad. This edifice holds significance as a place of worship for the Evangelical-Lutheran Church, conducting religious ceremonies in the Hungarian language. Its name is derived from the distinct appearance of its polished brick exterior. Construction of the church commenced in March 1905, under the guidance of Arad architect Ludovic Szantay, who designed the project. The culmination of this endeavor occurred in September 1906, marked by the consecration event. The Red Church showcases neo-Gothic architectural style, boasting a central tower that stands 46 meters tall. It features exquisite stained glass windows crafted by artist Josef Polka from Budapest. The pulpit, a masterpiece of sculpture, was chiseled by György Orr from Casovia. Additionally, the altar painting was skillfully executed by the painter J. Umlauf. The church houses a Wegenstein-type electropneumatic organ, created in Timișoara and installed in 1927. During its inauguration, the church was equipped with three bells, collectively weighing 1,590 kg. Tragically, during the Second World War, two of these bells were requisitioned by authorities and melted down for bronze projectiles. The bells were cast in the renowned Hönig foundry workshop in Arad, celebrated for its expertise in bronze casting within the region.

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