View source for Gothic Revival architecture

{{Short description|Architectural movement}}
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{{Use dmy dates|date=March 2020}}
[[File:Oostende Sint-Petrus-en-Pauluskerk R02.jpg|thumb|[[Sint-Petrus-en-Pauluskerk]] in [[Ostend]] (Belgium), built between 1899 and 1908]]
[[File:Savannah cathedral 2015 17 046.jpg|thumb|The [[Cathedral of St. John the Baptist (Savannah, Georgia)|Cathedral of St. John the Baptist]], [[Savannah, Georgia|Savannah]] ([[Georgia (U.S. state)|Georgia]], United States)]]

'''Gothic Revival''' (also referred to as '''Victorian Gothic''' or '''neo-Gothic''') is an [[Architectural style|architectural movement]] that after a gradual build-up beginning in the second half of the 17th century became a widespread movement in the first half of the 19th century, mostly in England. Increasingly serious and learned admirers sought to revive medieval [[Gothic architecture]], intending to complement or even supersede the [[Neoclassical architecture|neoclassical]] styles prevalent at the time. Gothic Revival draws upon features of medieval examples, including decorative patterns, [[finial]]s, [[lancet window]]s, and [[hood mould]]s. By the middle of the 19th century, Gothic Revival had become the pre-eminent architectural style in the [[Western world]], only to begin to fall out of fashion in the 1880s and early 1890s.

For some in England, the Gothic Revival movement had roots that were intertwined with philosophical movements associated with [[Catholicism]] and a re-awakening of [[high church]] or [[Anglo-Catholic]] belief concerned by the growth of religious nonconformism. The "Anglo-Catholic" tradition of religious belief and style became known for its intrinsic appeal in the third quarter of the 19th century. Gothic Revival architecture varied considerably in its faithfulness to both the ornamental styles and construction principles of its medieval ideal, sometimes amounting to little more than pointed window frames and touches of neo-Gothic decoration on buildings otherwise created on wholly 19th-century plans, using contemporary materials and construction methods; most notably, this involved the use of iron and, after the 1880s, steel in ways never seen in medieval exemplars.

In parallel with the ascendancy of neo-Gothic styles in 19th century England, interest spread to the rest of Europe, Australia, Asia and the Americas; the 19th and early 20th centuries saw the construction of very large numbers of Gothic Revival structures worldwide. The influence of [[Revivalism (architecture)|Revivalism]] had nevertheless peaked by the 1870s. New architectural movements, sometimes related, as in the [[Arts and Crafts movement]], and sometimes in outright opposition, such as [[Modern architecture|Modernism]], gained ground, and by the 1930s the architecture of the [[Victorian era]] was generally condemned or ignored. The later 20th century saw a revival of interest, manifested in the United Kingdom by the establishment of the [[Victorian Society]] in 1958.

==Roots==
The rise of [[evangelicalism]] in the eighteenth and early nineteenth centuries saw in England a reaction in the [[high church]] movement which sought to emphasise the continuity between the established church and the pre-[[Reformation]] Catholic church.{{sfn|Curl|1990|pp=14–15}} Architecture, in the form of the Gothic Revival, became one of the main weapons in the high church's armoury. The Gothic Revival was also paralleled and supported by "[[medievalism]]", which had its roots in [[antiquarian]] concerns with survivals and curiosities. As "[[industrialisation]]" progressed, a reaction against machine production and the appearance of factories also grew. 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. To Pugin, Gothic architecture was infused with the Christian values that had been supplanted by [[classicism]] and were being destroyed by [[industrialisation]].<ref name="artscrafts.org.uk">{{Cite web |url=http://www.artscrafts.org.uk/roots/pugin.html |title=Pugin and the Gothic Revival |access-date=12 July 2010 |archive-url=https://web.archive.org/web/20071006203642/http://www.artscrafts.org.uk/roots/pugin.html |archive-date=6 October 2007 |url-status=dead |df=dmy-all }}</ref>

Gothic Revival also took on political connotations, with the "rational" and "radical" Neoclassical style being seen as associated with [[republicanism]] and [[liberalism]] (as evidenced by its use in the United States and to a lesser extent in [[French Revolution|Republican]] France). In contrast, the more spiritual and traditional Gothic Revival became associated with [[monarchism]] and [[conservatism]], which was reflected by the choice of styles for the rebuilt government centres of the British Parliament's [[Palace of Westminster]] in London, the Canadian [[Parliament Hill|Parliament Buildings]] in [[Ottawa]] and the [[Hungarian Parliament Building]] in Budapest.{{sfn|Cooke|1987|p=383}}

In English literature, the architectural Gothic Revival and classical [[Romanticism]] gave rise to the [[Gothic novel]] genre, beginning with ''[[The Castle of Otranto]]'' (1764) by [[Horace Walpole]],<ref>{{cite web|url=https://www.bl.uk/collection-items/gothic-novel-the-castle-of-otranto-by-horace-walpole|title=The Castle of Otranto: Collection items|publisher=[[British Library]]|access-date=20 August 2023|archive-date=24 April 2023|archive-url=https://web.archive.org/web/20230424121056/https://www.bl.uk/collection-items/gothic-novel-the-castle-of-otranto-by-horace-walpole|url-status=dead}}</ref> and inspired a 19th-century genre of medieval poetry that stems from the pseudo-[[bardic poetry]] of "[[Ossian]]". Poems such as "[[Idylls of the King]]" by [[Alfred, Lord Tennyson]] recast specifically modern themes in medieval settings of [[King Arthur|Arthurian]] romance. In [[German literature]], the Gothic Revival also had a grounding in literary fashions.{{sfn|Robson Scott|1965|p=unknown}}

==Survival and revival==
[[File:Tom Tower, Christ Church 2004-01-21.jpg|thumb|upright=1.0|[[Tom Tower]], Oxford, by [[Christopher Wren|Sir Christopher Wren]] 1681–1682, to match the Tudor surroundings]]

[[Gothic architecture]] began at the [[Basilica of Saint Denis]] near Paris, and the [[Cathedral of Sens]] in 1140{{sfn|Furneaux Jordan|1979|p=127}} and ended with a last flourish in the early 16th century with buildings like [[Henry VII Lady Chapel|Henry&nbsp;VII's Chapel]] at Westminster.{{sfn|Furneaux Jordan|1979|p=163}} However, Gothic architecture did not die out completely in the 16th century but instead lingered in on-going cathedral-building projects; at [[Oxford University|Oxford]] and [[Cambridge University|Cambridge]] Universities, and in the construction of churches in increasingly isolated rural districts of England, France, Germany, the [[Polish–Lithuanian Commonwealth]] and in Spain.{{sfn|Furneaux Jordan|1979|p=165}}

=== Britain and Ireland ===
[[St Columb's Cathedral]], in [[Derry]], may be considered 'Gothic Survival', as it was completed in 1633 in a [[Perpendicular Gothic]] style.<ref>{{cite web|first =Bob|last = Hunter |url = http://www.bbc.co.uk/history/british/plantation/transcripts/pa01_t06.shtml |title =Londonderry Cathedral| publisher = BBC|website =Wars & Conflict: The Plantation of Ulster|date = 18 September 2014}}</ref> Similarly, Gothic architecture survived in some urban settings during the later 17th century, as shown in [[Oxford]] and [[Cambridge]], where some additions and repairs to Gothic buildings were considered to be more in keeping with the style of the original structures than contemporary [[Baroque architecture|Baroque]].{{sfn|Sherwood|Pevsner|2002|pp=110–111}}

In contrast, [[Dromore Cathedral]], built in 1660/1661, immediately after the end of [[the Protectorate]], revived [[Early English architecture|Early English]] forms, demonstrating the restitution of the monarchy and claiming Ireland for the English crown.<ref>{{cite web|url=https://apps.communities-ni.gov.uk/Buildings/buildview.aspx?id=16842&js=false|title= Northern Ireland – Historic Building Details HB17/15/022 A, Dromore Cathedral|publisher=Department of Communities - NI Government|access-date=17 August 2023}}</ref> At the same time, the Great Hall of [[Lambeth Palace]], that had been despoiled by the [[Puritans]], was rebuilt in a mixture of Baroque and older Gothic forms, demonstrating the restitution of the Anglican Church.<ref>{{NHLE|num=1116399|desc=Lambeth Palace|grade=I|access-date=17 August 2023}}</ref> These two buildings can be said to herald the onset of Gothic Revival architecture, several decades before it became mainstream. [[Christopher Wren|Sir Christopher Wren]]'s [[Tom Tower]] for [[Christ Church, Oxford|Christ Church]], [[University of Oxford]], consciously set out to imitate [[Thomas Wolsey|Cardinal Wolsey's]] architectural style. Writing to [[John Fell (bishop)|Dean Fell]] in 1681, he noted; "I resolved it ought to be Gothic to agree with the Founder's work", adding that to do otherwise would lead to "an unhandsome medley". [[Pevsner Architectural Guides|Pevsner]] suggests that he succeeded "to the extent that innocent visitors never notice the difference". It was followed in 1697–1704 by the rebuilding of [[Collegiate Church of St Mary, Warwick|Collegiate Church of St Mary]] in [[Warwick]] as a stone-vaulted [[hall church]], whereas the burnt church had been a [[basilica]] with timbered roofs. Also in [[Warwickshire]], in 1729/30, the nave and aisles of the church of St Nicholas at [[Alcester]] were rebuilt by Edward and Thomas Woodward, the exterior in Gothic forms but with a [[Neoclassical architecture|Neoclassical]] interior.<ref>{{NHLE|num=1200612|desc=Church of St Nicholas, Alcester|grade=I|access-date=17 August 2023}}</ref> At the same time, 1722–1746, [[Nicholas Hawksmoor]] added the west towers to [[Westminster Abbey]], which made him a pioneer of Gothic Revival completions of medieval buildings,{{sfn|Macaulay|1975|p=31}} which from the late 19th century were increasingly disapproved of, although work in this style continued into the 20th century.<ref>{{cite web|url=https://www.universalis.fr/encyclopedie/eugene-emmanuel-viollet-le-duc/2-vezelay-et-le-gothique-comme-acte-constructif/|title=Vézelay et le gothique comme acte constructif|language=French|publisher=Universalis.fr|access-date=17 August 2023}}</ref> Back in Oxford, the redecoration of the  dining hall at [[University College, Oxford|University College]] between 1766 and 1768 has been described as "the first major example of the Gothic Revival style in Oxford".{{efn|The driver of the redecoration at University College was Sir [[Roger Newdigate]], who also undertook the "Gothicisation" of his Warwickshire country house, [[Arbury Hall]], over the course of 50 years in the later half of the 18th century.<ref>{{NHLE|num=1185222|desc=Arbury Hall|grade=!|access-date=20 August 2023}}</ref>}}{{sfn|Cox|2012|p=117}}

=== Continental Europe ===
[[File:Zdar Zelena hora 19.jpg|right|thumb|[[Pilgrimage Church of Saint John of Nepomuk]] by [[Jan Santini Aichel|Johann Santini Aichel]] (around 1720), [[Czech Republic]], historic [[Moravia]]]]
Throughout France in the 16th and 17th centuries, churches continued to be built following Gothic principles (structure of the buildings, application of tracery) such as [[Saint-Eustache, Paris|St-Eustache]] (1532–1640, façade 1754) in Paris and [[Orléans Cathedral]] (1601–1829). This newer construction incorporated some little changes like the use of round arches instead of pointed arches and the application of some Classical details, until largely being replaced in new construction with the arrival of Baroque architecture.<ref>{{Cite web|url=https://en.parisinfo.com/paris-museum-monument/71305/Eglise-Saint-Eustache|title=Église Saint-Eustache|publisher=Paris tourist office|access-date=6 May 2020}}</ref>

In [[Bologna]], in 1646, the [[Baroque]] architect [[Carlo Rainaldi]] constructed [[Vault (architecture)|Gothic vaults]] (completed 1658) for the [[Basilica of San Petronio]] in Bologna, which had been under construction since 1390; there, the Gothic context of the structure overrode considerations of the current architectural mode. Similarly, in [[St. Salvator's Cathedral]] of [[Bruges]], the timbered medieval vaults of nave and choir were replaced by "Gothic" stone vaults in 1635 resp. 1738/39. [[Guarino Guarini]], a 17th-century Theatine monk active primarily in [[Turin]], recognized the "Gothic order" as one of the primary systems of architecture and made use of it in his practice.<ref name="EB2018">{{Cite web |title=Guarino Guarini : Italian architect, priest, mathematician, and theologian |publisher=Encyclopedia Britannica |date=n.d. |access-date=7 September 2018 |url= https://www.britannica.com/biography/Guarino-Guarini }}</ref>

Even in [[Central Europe]] of the late 17th and 18th centuries, where Baroque dominated, some architects continued to use elements of the Gothic style. The most important example is [[Jan Santini Aichel|Johann Santini Aichel]], whose [[Pilgrimage Church of Saint John of Nepomuk]] in [[Žďár nad Sázavou]], Czech Republic, represents a peculiar and creative synthesis of Baroque and Gothic.<ref name="santini">{{cite web |url = http://whc.unesco.org/en/list/690 |title = Pilgrimage Church of St. John of Nepomuk at Zelená Hora |website = UNESCO World Heritage Centre |publisher = United Nations Educational, Scientific, and Cultural Organization|access-date=24 February 2023}}</ref> An example of another and less striking use of the Gothic style in the time is the [[Basilica of Our Lady of Hungary]] in [[Márianosztra]], Hungary, whose choir (adjacent to a Baroque nave) was long considered authentically Gothic, because the 18th-century architect used medieval shapes to emphasize the continuity of the monastic community with its 14th-century founders.<ref>{{Cite journal |last=Nagy |first=Gergely Domonkos |date=2013 |title=Gothicized buildings and the role of symbols in Baroque architecture |url=https://pp.bme.hu/ar/article/view/7396 |journal=Periodica Polytechnica Architecture |language=en |volume=44 |issue=2 |pages=69–76 |doi=10.3311/PPar.7396 |issn=1789-3437|doi-access=free }}</ref>

=== Romantic challenges ===
During the mid-18th century rise of [[Romanticism]], an increased interest and awareness of the [[Middle Ages in history|Middle Ages]] among influential connoisseurs created a more appreciative approach to selected [[medieval]] arts, beginning with church architecture, the tomb monuments of royal and noble personages, stained glass, and late Gothic illuminated manuscripts. Other Gothic arts, such as tapestries and metalwork, continued to be disregarded as barbaric and crude, however sentimental and nationalist associations with historical figures were as strong in this early revival as purely aesthetic concerns.{{sfn|Aldrich|2005|p=140}}

{{multiple image|perrow = 3|total_width=350|align=left
| image1 = Strawberry Hill House 4 (29886640996).jpg
| image2 = Strawberry Hill House Interior 10 (29814548012).jpg
| footer = [[Strawberry Hill House]], [[Twickenham]], London; 1749 by [[Horace Walpole]] (1717–1797). "The seminal house of the Gothic Revival in England", it established the "Strawberry Hill Gothic" style{{sfn|Chalcraft|Viscardi|2007|p=7}}}}

[[German Romanticism|German Romanticists]] (including philosopher and writer [[Goethe]] and architect [[Karl Friedrich Schinkel]]), began to appreciate the [[picturesque]] character of ruins—"picturesque" becoming a new aesthetic quality—and those mellowing effects of time that the Japanese call ''[[wabi-sabi]]'' and that [[Horace Walpole]] independently admired, mildly tongue-in-cheek, as "the true rust of the Barons' wars".{{efn|This was Walpole's appraisal of the sham castle at [[Hagley Park, Worcestershire]] designed by his friend, [[Sanderson Miller]].{{sfn|Brooks|Pevsner|2007|p=339}}}}{{sfn|Brooks|Pevsner|2007|p=339}} The "Gothick" details of Walpole's Twickenham villa, [[Strawberry Hill House]] begun in 1749, appealed to the [[rococo]] tastes of the time,{{efn|Tours of the house, conducted by Walpole's housekeeper, Margaret Young, proved hugely popular. Walpole wrote to a friend; "I am so tormented by droves of people coming to see my house, and Margaret gets such sums of money by showing it, that I have a mind to marry her".{{sfn|Chalcraft|Viscardi|2007|p=20}}}}<ref>{{NHLE|desc=Strawberry Hill (St Mary's Training College)|num=1261987|grade=I|access-date=6 May 2020}}</ref> and were fairly quickly followed by James Talbot at [[Lacock Abbey]], Wiltshire.<ref>{{NHLE|desc=Lacock Abbey with Stable Yard|num=1283853|grade=I|access-date=6 May 2020}}</ref> By the 1770s, thoroughly neoclassical architects such as [[Robert Adam]] and [[James Wyatt]] were prepared to provide Gothic details in drawing-rooms, libraries and chapels and, for William Beckford at [[Fonthill Abbey|Fonthill]] in Wiltshire, a complete romantic vision of a Gothic abbey.{{efn|Alfred's Hall, built by [[Allen Bathurst, 1st Earl Bathurst|Lord Bathurst]] on his [[Cirencester Park (country house)|Cirencester Park]] estate between 1721 and 1732 in homage to [[Alfred the Great]],<ref>{{NHLE|num=1298719|desc=Alfreds Hall, Cirencester Park|grade=II*|access-date=2 May 2020}}</ref> is perhaps the earliest Gothic Revival structure in England.{{sfn|Charlesworth|2002a|p=14}}}}{{sfn|Aldrich|2005|pp=82–83}}

Some of the earliest architectural examples of the revived are found in Scotland. [[Inveraray Castle]], constructed from 1746 for the [[Archibald Campbell, 3rd Duke of Argyll|Duke of Argyll]], with design input from [[William Adam (architect)|William Adam]], displays the incorporation of turrets.{{efn|The little-researched [[Clearwell Castle]] in Gloucestershire, by [[Roger Morris (1695–1749)|Roger Morris]] who also undertook work at [[Inveraray Castle|Inveraray]], has been described as "the earliest Gothick Revival castle in England".{{sfn|Verey|Brooks|2002|pp=310-311}}}} The architectural historian John Gifford writes that the castellations were the "symbolic assertion of the still quasi-feudal power [the duke] exercised over the inhabitants within his heritable jurisdictions".{{sfn|Gifford|1989|p=161}} Most buildings were still largely in the established [[Palladian]] style, but some houses incorporated external features of the Scots baronial style. Robert Adam's houses in this style include [[Mellerstain]]{{sfn|Cruft|Dunbar|Fawcett|2006|p=529}} and [[Wedderburn Castle|Wedderburn]]{{sfn|Cruft|Dunbar|Fawcett|2006|p=744}} in Berwickshire and [[Seton Castle]] in East Lothian,{{sfn|McWilliam|1978|pp=428–431}} but it is most clearly seen at [[Culzean Castle]], Ayrshire, remodelled by Adam from 1777.{{sfn|Whyte|Whyte|1991|p=100}} The eccentric landscape designer [[Batty Langley]] even attempted to "improve" Gothic forms by giving them classical proportions.<ref>{{Cite web|url=http://www.twickenham-museum.org.uk/detail.php?aid=15&cid=10&ctid=1|title=Batty Langley, gardener and prolific writer|publisher=Twickenham Museum|website=www.twickenham-museum.org.uk|access-date=6 May 2020}}</ref>

[[File:Basilica of Saint Clotilde Sanctuary, Paris, France - Diliff.jpg|thumb|right|upright=1.4|Basilica of Sainte Clotilde Sanctuary, Paris, France]]

A younger generation, taking Gothic architecture more seriously, provided the readership for John Britton's series ''Architectural Antiquities of Great Britain'', which began appearing in 1807.{{sfn|Macaulay|1975|p=174}} In 1817, [[Thomas Rickman]] wrote an ''Attempt...'' to name and define the sequence of Gothic styles in English ecclesiastical architecture, "a text-book for the architectural student". Its long antique title is descriptive: ''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''. The categories he used were [[Norman architecture|Norman]], [[Early English Period|Early English]], [[Decorated Gothic|Decorated]], and [[Perpendicular Period|Perpendicular]]. It went through numerous editions, was still being republished by 1881, and has been reissued in the 21st century.{{efn|[[Thomas Rickman]] trained as an accountant and his posthumous famed rested on his antiquarian researches, rather than his considerable corpus of buildings, which were disparaged as the creations of a "self-taught" architect. It was only towards the end of his life, and after, that the position of architect was recognised as a profession, with the establishment of the [[Royal Institute of British Architects|Institute of British Architects]] in 1834 and the [[Architectural Association School of Architecture|Architectural Association]] in 1847.{{sfn|Aldrich|2019|p=25}}}}{{sfn|Rickman|1848|p=47}}

The most common use for Gothic Revival architecture was in the building of churches. Major examples of Gothic cathedrals in the U.S. include the cathedrals of [[Cathedral of St. John the Divine|St. John the Divine]] and [[St. Patrick's Cathedral (Manhattan)|St. Patrick]] in New York City and the [[Washington National Cathedral]] on Mount St. Alban in northwest [[Washington, D.C.]] One of the biggest churches in Gothic Revival style in Canada is the [[Basilica of Our Lady Immaculate]] in [[Guelph|Guelph, Ontario]].<ref name=Shannon>{{cite web |author=Shannon Kyles|title=Gothic Revival (1750–1900) |publisher=Ontario Architecture|url=http://www.ontarioarchitecture.com/gothicrevival.html|access-date=6 May 2020}}</ref>

Gothic Revival architecture remained one of the most popular and long-lived of the many [[Revivalism (architecture)|revival styles of architecture]]. Although it began to lose force and popularity after the third quarter of the 19th century in commercial, residential and industrial fields, some buildings such as churches, schools, colleges and universities were still constructed in the Gothic style, often known as "Collegiate Gothic", which remained popular in England, Canada and in the United States until well into the early to mid-20th century. Only when new materials, like steel and glass along with concern for function in everyday working life and saving space in the cities, meaning the need to build up instead of out, began to take hold did the Gothic Revival start to disappear from popular building requests.<ref name=EB>{{cite encyclopedia |encyclopedia=[[Encyclopædia Britannica]] Online |title=Gothic Revival |access-date=8 October 2013 |url=https://www.britannica.com/EBchecked/topic/239789/Gothic-Revival }}</ref>

==Gothic Revival in the other decorative arts==
{{main|Gothic Revival decorative arts}}
[[File:Abbotsford House Study Room.jpg|thumb|right|upright=1.4|The study at [[Abbotsford, Scottish Borders|Abbotsford]], created for [[Walter Scott|Sir Walter Scott]] whose novels popularised the [[Medieval]] period from which the Gothic Revival drew its inspiration]]

The revived Gothic style was not limited to architecture. Classical Gothic buildings of the 12th to 16th Centuries were a source of inspiration to 19th-century designers in numerous fields of work. Architectural elements such as pointed arches, steep-sloping roofs and fancy carvings like lace and lattice work were applied to a wide range of Gothic Revival objects. Some examples of Gothic Revival influence can be found in heraldic motifs in coats of arms, furniture with elaborate painted scenes like the whimsical Gothic detailing in English furniture is traceable as far back as [[Henrietta Louisa Fermor|Lady Pomfret]]'s house in Arlington Street, London (1740s),{{sfn|Lindfield|2016|p=78}} and Gothic fretwork in chairbacks and glazing patterns of bookcases is a familiar feature of [[Thomas Chippendale|Chippendale]]'s ''Director'' (1754, 1762), where, for example, the three-part bookcase employs Gothic details with Rococo profusion, on a symmetrical form.<ref name=VAM>{{cite web |publisher=[[Victoria and Albert Museum]] |title=Style Guide: Gothic Revival |url=http://www.vam.ac.uk/content/articles/s/style-guide-gothic-revival/ |access-date=6 May 2020 |location=London, United Kingdom}}</ref><ref>{{Cite web|url=http://www.vam.ac.uk/content/articles/t/thomas-chippendale/|title=Thomas Chippendale|publisher=Victoria and Albert Museum|date=26 November 2012|website=www.vam.ac.uk}}</ref> [[Abbotsford, Scottish Borders|Abbotsford]] in the [[Scottish Borders]], rebuilt from 1816 by [[Walter Scott|Sir Walter Scott]] and paid for by the profits from his hugely successful, historical novels, exemplifies the "Regency Gothic" style.{{efn|Sir Walter Scott's novels popularised the Medieval period and their influence went well beyond architecture. The historian [[Robert Bartlett (historian)|Robert Bartlett]] notes that, at one point in the mid-19th century, four different stage adaptations of ''[[Ivanhoe]]'' were running simultaneously in London theatres, and nine separate operas were based on the work.{{sfn|Bartlett|2001|p=14}}}}{{sfn|Lindfield|2016|p=224}} Gothic Revival also includes the reintroduction of medieval clothes and dances in historical re-enactments staged especially in the second part of the 19th century, although one of the first, the [[Eglinton Tournament]] of 1839, remains the most famous.{{sfn|Anstruther|1963|loc=preface}}

During the [[Bourbon Restoration in France]] (1814–1830) and the [[Louis-Philippe]] period (1830–1848), Gothic Revival motifs start to appear, together with revivals of the [[Renaissance]] and of [[Rococo]]. During these two periods, the vogue for medieval things led craftsmen to adopt Gothic decorative motifs in their work, such as bell [[Turret (architecture)|turrets]], lancet arches, [[trefoil]]s, Gothic tracery and [[rose window]]s. This style was also known as "Cathedral style" ("À la catédrale").{{sfn|Graur|1970|p=233}}{{sfn|Chadenet|2001|pp=116-117,138}}

By the mid-19th century, Gothic traceries and niches could be inexpensively re-created in [[wallpaper]], and Gothic blind arcading could decorate a ceramic pitcher. Writing in 1857, [[John Gregory Crace (designer)|J. G. Crace]], an influential decorator from a family of influential interior designers, expressed his preference for the Gothic style: "In my opinion there is no quality of lightness, elegance, richness or beauty possessed by any other style... [or] in which the principles of sound construction can be so well carried out".{{sfn|Beard|1985|p=72}} The illustrated catalogue for the [[Great Exhibition]] of 1851 is replete with Gothic detail, from lacemaking and carpet designs to heavy machinery. [[Nikolaus Pevsner|Nikolaus Pevsner's]] volume on the exhibits at the Great Exhibition, ''High Victorian Design'' published in 1951, was an important contribution to the academic study of [[Victorian era|Victorian]] taste and an early indicator of the later 20th century rehabilitation of Victorian architecture and the objects with which they decorated their buildings.{{sfn|Pevsner|1951|loc=foreword}}

In 1847, eight thousand British [[Crown (British coin)|crown]] coins were minted in [[Proof coinage|proof]] condition with the design using an ornate reverse in keeping with the revived style. Considered by collectors to be particularly beautiful, they are known as 'Gothic crowns'. The design was repeated in 1853, again in proof. A similar two shilling coin, the 'Gothic [[Two shillings (British coin)|florin]]' was minted for circulation from 1851 to 1887.<ref>{{Cite web|url=https://www.baldwin.co.uk/news/victoria-gothic-crown-1847/|title=Victoria: Gothic Crown|publisher=Baldwins|date=19 March 2019}}</ref><ref>{{Cite web|url=https://www.royalmint.com/our-coins/ranges/historic-coins/victoria-and-the-victorian-era/victoria-gothic-crown-1847/|title=Queen Victoria: The Gothic Crown 1847|publisher=The Royal Mint|website=www.royalmint.com|access-date=6 May 2020|archive-date=24 June 2020|archive-url=https://web.archive.org/web/20200624185058/https://www.royalmint.com/our-coins/ranges/historic-coins/victoria-and-the-victorian-era/victoria-gothic-crown-1847/|url-status=dead}}</ref>

==Romanticism and nationalism==
[[File:Rouen France Palais-de-justice-03.jpg|thumb|upright=1.25|left|Gothic façade of the [[Parlement de Rouen]] in France, built between 1499 and 1508, which inspired neo-Gothic revival in the 19th century]]

French neo-Gothic had its roots in the French [[Gothic architecture|medieval Gothic architecture]], where it was created in the 12th century. Gothic architecture was sometimes known during the medieval period as the "Opus Francigenum", (the "French Art"). French scholar [[Alexandre de Laborde]] wrote in 1816 that "Gothic architecture has beauties of its own",{{sfn|Bartlett|2001|p=15}} which marked the beginning of the Gothic Revival in France. Starting in 1828, Alexandre Brogniart, the director of the [[Sèvres porcelain|Sèvres porcelain manufactory]], produced fired enamel paintings on large panes of plate glass, for [[Louis-Philippe of France|King Louis-Philippe]]'s [[Chapelle royale de Dreux]], an important early French commission in Gothic taste,<ref>{{Cite web|url=https://www.chapelle-royale-dreux.com/en/page-accueil|title=History of the Chapel Royal at Dreux|publisher=Chapelle Royale a Dreux Official Site|access-date=29 May 2020}}</ref> preceded mainly by some Gothic features in a few ''[[jardin paysager|jardins paysagers]]''.<ref>{{Cite web |last=Gothein |first=Marie-Luise |title=History of Garden Art – Jardin Anglo-Chinois |url=https://www.gardenvisit.com/history_theory/library_online_ebooks/ml_gothein_history_garden_art_design/jardin_anglo_chinois |access-date=29 May 2020 |website=www.gardenvisit.com |publisher=The Landscape Guide}}</ref>

[[File:P1020476 Paris VII Basilique Saint-Clotilde rwk.JPG|thumb|upright=1|[[Sainte-Clotilde, Paris|Sainte-Clotilde Basilica]] completed in 1857, Paris]]

The French Gothic Revival was set on more sound intellectual footings by a pioneer, [[Arcisse de Caumont]], who founded the Societé des Antiquaires de Normandie at a time when ''antiquaire'' still meant a connoisseur of antiquities, and who published his great work on architecture in French Normandy in 1830.<ref>{{Cite web|url=https://mondes-normands.caen.fr/angleterre/archeo/normandie/mdn/index.htm|title=Collections of the Musée de Normandie|publisher=Normandy Museum|website=mondes-normands.caen.fr|access-date=6 May 2020}}</ref> The following year [[Victor Hugo]]'s historical romance novel ''[[The Hunchback of Notre-Dame]]'' appeared, in which the great [[Notre-Dame de Paris|Gothic cathedral of Paris]] was at once a setting and a protagonist in a hugely popular work of fiction. Hugo intended his book to awaken a concern for the surviving Gothic architecture left in Europe, however, rather than to initiate a craze for neo-Gothic in contemporary life.{{sfn|Lowenthal|2015|p=416}} In the same year that ''Notre-Dame de Paris'' appeared, the new restored [[Bourbon Restoration in France|Bourbon]] monarchy established an office in the Royal French Government of Inspector-General of Ancient Monuments, a post which was filled in 1833 by [[Prosper Mérimée]], who became the secretary of a new Commission des Monuments Historiques in 1837.<ref>{{Cite web|url=http://www.theguardian.com/books/2007/jul/07/architecture.art|title=An inspector calls|first=Julian|last=Barnes|work=The Guardian|date=7 July 2007}}</ref> This was the Commission that instructed [[Eugène Viollet-le-Duc]] to report on the condition of the [[Abbey of Vézelay]] in 1840.<ref>{{Cite web|url=http://www.psupress.org/books/titles/0-271-01850-X.html|title=Memory and Modernity: Viollet-le-Duc at Vézelay|first=Kevin|last=Murphy|publisher=Penn State University Press|website=www.psupress.org|access-date=6 May 2020}}</ref> Following this, Viollet le Duc set out to restore most of the symbolic buildings in France including Notre Dame de Paris,{{sfn|Midant|2002|p=54}} Vézelay,{{sfn|Midant|2002|p=19}} [[Cité de Carcassonne|Carcassonne]],{{sfn|Midant|2002|p=96}} [[Roquetaillade castle]],<ref>{{Cite web|url=http://chateauroquetaillade.free.fr/English/Historique%20du%20ch%e2teau%20-Anglais-.html|title=Historique du Château -Anglais-}}</ref> [[Mont-Saint-Michel Abbey]] on its peaked coastal island,<ref>{{Cite web|url=https://whc.unesco.org/en/list/80/|title=Mont-Saint-Michel and its Bay|website=UNESCO World Heritage Centre|access-date=6 May 2020}}</ref> [[Château de Pierrefonds|Pierrefonds]],{{sfn|Midant|2002|p=108}} and the [[Palais des Papes]] in [[Avignon]].{{sfn|Midant|2002|p=96}} When France's first prominent neo-Gothic church{{efn|In Montreal, Quebec, Canada, the earlier neo-Gothic Basilica of Notre Dame (1824) belongs to the Gothic Revival exported from Great Britain and the United States. Its architect, James O'Donnell, was an Irish immigrant with no known connections to France.{{sfn|Toker|1991|pp=xviii–xix}}}} was built, the [[Saint Clotilde Basilica|Basilica of Saint-Clotilde]],{{efn|The choice of the canonized wife of King [[Clovis I|Clovis]], the first Christian king of a unified France, held significance for the [[Bourbon Restoration in France|Bourbon]]s.{{sfn|Menin|1775|p=5}}}} Paris, begun in 1846 and consecrated in 1857, the architect chosen was of German extraction, [[Franz Christian Gau]], (1790–1853); the design was significantly modified by Gau's assistant, [[Théodore Ballu]], in the later stages, to produce the pair of ''flèches'' that crown the west end.<ref>{{Cite web|url=https://www.britannica.com/art/Western-architecture|title=Western architecture – From the 19th to the early 20th century|date=n.d.|publisher=Encyclopedia Britannica|access-date=6 May 2020}}</ref>

[[File:Švėkšnos_bažnyčia_vasarą,_church_in_summer_-D_-_panoramio.jpg|thumb|upright=0.9|left|The lifting of a ban on the [[Russification#Lithuania and Poland|construction of new Catholic churches]] around 1900 saw a resurgence of church building across Lithuania, such as St John the Apostle in [[Švėkšna]].]]

In Germany, there was a renewal of interest in the completion of [[Cologne Cathedral]]. Begun in 1248, it was still unfinished at the time of the revival. The 1820s "Romantic" movement brought a new appreciation of the building, and construction work began once more in 1842, marking a German return for Gothic architecture. [[St. Vitus Cathedral]] in [[Prague]], begun in 1344, was also completed in the mid-19th and early 20th centuries.{{sfn|Brichta|2014|p=?}} The importance of the Cologne completion project in German-speaking lands has been explored by Michael J. Lewis, ''"The Politics of the German Gothic Revival: August Reichensperger"''. Reichensperger was himself in no doubt as to the cathedral's central position in Germanic culture; "Cologne Cathedral is German to the core, it is a national monument in the fullest sense of the word, and probably the most splendid monument to be handed down to us from the past".{{sfn|Germann|1972|p=152}}

Because of [[Romantic nationalism]] in the early 19th century, the Germans, French and English all claimed the original Gothic architecture of the 12th century era as originating in their own country. The English boldly coined the term "Early English" for "Gothic", a term that implied Gothic architecture was an English creation. In his 1832 edition of ''Notre Dame de Paris'', author Victor Hugo said "Let us inspire in the nation, if it is possible, love for the national architecture", implying that "Gothic" is France's national heritage. In Germany, with the completion of Cologne Cathedral in the 1880s, at the time its summit was the world's tallest building, the cathedral was seen as the height of Gothic architecture.<ref>{{Cite web|url=https://www.britannica.com/topic/Cologne-Cathedral|title=Cologne Cathedral: History, Artworks, & Facts|publisher=Encyclopedia Britannica|access-date=6 May 2020}}</ref> Other major completions of Gothic cathedrals were of [[Regensburger Dom]] (with twin [[spire]]s completed from 1869 to 1872),<ref>{{Cite web|url=http://domplatz-5.de/dom/english/|title=About St. Peter's Cathedral|publisher=Infozentrum Domplatz|website=domplatz-5.de|access-date=6 May 2020|archive-date=15 July 2020|archive-url=https://web.archive.org/web/20200715211153/http://domplatz-5.de/dom/english/|url-status=dead}}</ref> [[Ulm Münster]] (with a 161-meter tower from 1890)<ref>{{Cite web|url=https://structurae.net/en/structures/ulm-cathedral|title=Ulm Minster (Ulm, 1890)|publisher=Structurae|access-date=6 May 2020}}</ref> and [[St. Vitus Cathedral]] in Prague (1844–1929).<ref>{{Cite web |last=Forrest |first=F. G. |title=St. Vitus Cathedral |url=https://www.hrad.cz/en/prague-castle-for-visitors/objects-for-visitors/st.-vitus-cathedral-10330 |access-date=6 May 2020 |website=www.fg.cz |publisher=Prague Castle}}</ref>

[[File:Cologne Germany Exterior-view-of-Cologne-Cathedral-01.jpg|thumb|upright=1.4|[[Cologne Cathedral]], finally completed in 1880 although construction began in 1248]]

In Belgium, a 15th-century church in [[Ostend]] burned down in 1896. King [[Leopold II of Belgium|Leopold II]] funded its replacement, the [[Sint-Petrus-en-Pauluskerk|Saint Peter's and Saint Paul's Church]], a cathedral-scale design which drew inspiration from the neo-Gothic [[Votive Church, Vienna|Votive Church]] in [[Vienna]] and Cologne Cathedral.<ref name=SPSPC-O>{{cite web |url=http://www.oostende.be/product.aspx?id=2369 |title=Sint-Petrus-en-Pauluskerk |language=nl |publisher=City of Ostend |access-date=24 July 2011}}</ref> In [[Mechelen]], the largely unfinished building drawn in 1526 as the seat of the [[Great Council of Mechelen|Great Council of The Netherlands]]<!--'of THE NETHERLANDS' was the council's official name in 1526, the time of this design-->, was not actually built until the early 20th century, although it closely followed [[Rombout II Keldermans]]'s [[Brabantine Gothic]] design<!--with original drawings but as modified by Keldermans during the early phase-->, and became the 'new' north wing of the City Hall.<ref name=CH1-M>{{cite web |url=http://toerisme.mechelen.be/content/8168 |title=Stadhuis |language=nl |publisher=City of Mechelen |access-date=18 July 2011 |url-status=dead |archive-url=https://web.archive.org/web/20110718025255/http://toerisme.mechelen.be/content/8168 |archive-date=18 July 2011 |df=dmy-all }}</ref><ref name=CH2-M>{{cite web |url=http://inventaris.vioe.be/dibe/relict/3717 |title=Stadhuis met voormalige Lakenhal (ID: 3717) |language=nl |work=De Inventaris van het Bouwkundig Erfgoed |publisher=Vlaams Instituut voor het Onroerend Erfgoed (VIOE) |access-date=24 July 2011}}</ref> In [[Florence]], the [[Florence Cathedral|Duomo]]'s temporary façade erected for the Medici-House of Lorraine nuptials in 1588–1589, was dismantled, and the west end of the cathedral stood bare again until 1864, when a competition was held to design a new façade suitable to [[Arnolfo di Cambio]]'s original structure and the fine [[campanile]] next to it. This competition was won by [[Emilio De Fabris]], and so work on his polychrome design and panels of [[mosaic]] was begun in 1876 and completed by 1887, creating the Neo-Gothic western façade.<ref>{{Cite web|url=https://www.museumflorence.com/museum/halls/23-26-museo-dell-ottocento|title=Florence|publisher=Il Grande Museo del Duomo|access-date=6 May 2020}}</ref>

Eastern Europe also saw much Revival construction; in addition to the [[Hungarian Parliament Building]] in Budapest,{{sfn|Cooke|1987|p=383}} the [[Bulgarian National Revival]] saw the introduction of Gothic Revival elements into its vernacular ecclesiastical and residential architecture. The largest project of the Slavine School is the [[Lopushna Monastery]] cathedral (1850–1853), though later churches such as [[Saint George's Church, Gavril Genovo]] display more prominent vernacular Gothic Revival features.{{sfn|Tuleshkov|2007|p=?}}

[[File:Centre Block and Library of Parliament, Ottawa, West view 20170422 2.jpg|thumb|upright=1.4|left|[[Parliament Hill|The Canadian Parliament Buildings from the Ottawa River, including Gothic Revival library at rear]], built between 1859 and 1876]]

In Scotland, while a similar Gothic style to that used further south in England was adopted by figures including [[Frederick Thomas Pilkington]] (1832–1898){{sfn|Stamp|1995|pp=108–110}} in secular architecture it was marked by the re-adoption of the [[Scots baronial]] style.{{sfn|Jackson|2011|p=152}} Important for the adoption of the style in the early 19th century was Abbotsford, which became a model for the modern revival of the baronial style.{{sfn|Hitchcock|1968|p=94}} Common features borrowed from 16th- and 17th-century houses included [[battlements|battlemented]] gateways, [[crow-stepped gable]]s, pointed [[Turret (architecture)|turrets]] and [[machicolations]]. The style was popular across Scotland and was applied to many relatively modest dwellings by architects such as [[William Burn]] (1789–1870), [[David Bryce]] (1803–1876),{{sfn|Hull|2006|p=154}} [[Edward Blore]] (1787–1879), [[Edward Calvert (architect)|Edward Calvert]] ({{circa|1847–1914}}) and [[Robert Stodart Lorimer]] (1864–1929) and in urban contexts, including the building of [[Cockburn Street, Edinburgh|Cockburn Street]] in Edinburgh (from the 1850s) as well as the National [[Wallace Monument]] at Stirling (1859–1869).{{sfn|Glendenning|MacInnes|MacKechnie|2002|pp=276–285}} The reconstruction of [[Balmoral Castle]] as a baronial palace and its adoption as a royal retreat from 1855 to 1858 confirmed the popularity of the style.{{sfn|Hitchcock|1968|p=94}}

In the United States, the first "Gothic stile"{{sfn|Buggeln|2003|p=115}} church (as opposed to churches with Gothic elements) was [[Trinity Church on the Green]], New Haven, Connecticut. It was designed by [[Ithiel Town]] between 1812 and 1814, while he was building his [[Federal architecture|Federalist-style]] Center Church, New Haven next to this radical new "Gothic-style" church. Its cornerstone was laid in 1814,{{sfn|Jarvis|1814|p=}} and it was consecrated in 1816.{{sfn|Hobart|1816|p=5}} It predates [[St Luke's Church, Chelsea]], often said to be the first Gothic-revival church in London. Though built of [[trap rock]] stone with arched windows and doors, parts of its tower and its battlements were wood. Gothic buildings were subsequently 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).{{sfn|Buggeln|2003|p=115}} These were followed by Town's design for [[Christ Church Cathedral (Hartford, Connecticut)]] (1827), which incorporated Gothic elements such as buttresses into the fabric of the church. [[St. Paul's Episcopal Church (Troy, New York)|St. Paul's Episcopal Church]] in Troy, New York, was constructed in 1827–1828 as an exact copy of Town's design for Trinity Church, New Haven, but using local stone; due to changes in the original, St. Paul's is closer to Town's original design than Trinity itself. In the 1830s, architects began to copy specific English Gothic and Gothic Revival Churches, and these "'mature Gothic Revival' buildings made the domestic Gothic style architecture which preceded it seem primitive and old-fashioned".{{sfn|Stanton|1997|p=3}}

There are many examples of [[Gothic Revival architecture in Canada]]. The first major structure was [[Notre-Dame Basilica (Montreal)|Notre-Dame Basilica]] in [[Montreal|Montreal, Quebec]], which was designed in 1824.<ref>{{Cite web|url=https://www.basiliquenotredame.ca/en/history/the-creation-of-the-basilica|title=The creation of the Basilica – La Basilique Notre-Dame|publisher=Notre-Dame|website=www.basiliquenotredame.ca|access-date=6 May 2020}}</ref> The capital, [[Ottawa|Ottawa, Ontario]], was predominantly a 19th-century creation in the Gothic Revival style. The [[Parliament Hill]] buildings were the preeminent example, of which the original library survives today (after the rest was destroyed by fire in 1916).<ref>{{Cite web|url=https://www.britannica.com/topic/Parliament-Building-Ottawa-Ontario|title=Parliament Buildings, Ottawa, Ontario, Canada|publisher=Encyclopedia Britannica|access-date=6 May 2020}}</ref> Their example was followed elsewhere in the city and outlying areas, showing how popular the Gothic Revival movement had become.<ref name=Shannon/> Other examples of Canadian Gothic Revival architecture in Ottawa are the [[Victoria Memorial Museum]], (1905–1908),<ref>{{Cite web|url=https://www.historicplaces.ca/en/rep-reg/place-lieu.aspx?id=4483|title=Victoria Memorial Museum|publisher=Register of Canada's Historic Places|website=www.historicplaces.ca|access-date=6 May 2020}}</ref> the [[Royal Canadian Mint]], (1905–1908),<ref>{{Cite web|url=http://www.ontarioplaques.com/Plaques/Plaque_Ottawa30.html|title=Royal Canadian Mint Historical Plaque|publisher=Ontario's Historic Plaques|website=www.ontarioplaques.com|access-date=6 May 2020}}</ref> and the [[Connaught Building]], (1913–1916),<ref>{{Cite web|url=https://www.pc.gc.ca/apps/dfhd/page_nhs_eng.aspx?id=454|title=Connaught Building National Historic Site of Canada|publisher=Parks Canada
|website=www.pc.gc.ca|access-date=6 May 2020}}</ref> all by [[David Ewart]].{{sfn|Fulton|2005}}

==Gothic as a moral force==

===Pugin and "truth" in architecture===
[[File:Houses of Parliament in 2022 (cropped).jpg|thumb|upright=1.3|The [[Palace of Westminster]] (1840–1876), designed by [[Charles Barry]] & [[Augustus Pugin]]]]

In the late 1820s, [[Augustus Pugin|A. W. N. Pugin]], still a teenager, was working for two highly visible employers, providing Gothic detailing for luxury goods.{{sfn|Aldrich|Atterbury|1995|p=372}} For the Royal furniture makers Morel and Seddon he provided designs for redecorations for the elderly [[George IV of the United Kingdom|George IV]] at [[Windsor Castle]] in a Gothic taste suited to the setting.{{efn|Pugin subsequently recanted, writing in the second of his two lectures, ''The True Principles of Pointed or Christian Architecture''; "A man who remains any length of time in a modern Gothic room, and escapes without being wounded by some of its minutiae, may consider himself extremely fortunate. There are often as many pinnacles and gables about a [[pier glass]] frame as are to be found in a church. I have perpetrated many of these enormities in the furniture I designed some years ago for Windsor Castle... Collectively they appeared a complete burlesque of pointed design".{{sfn|Charlesworth|2002c|p=199}}}}{{sfn|Hill|2007|pp=74-75}} For the royal silversmiths [[Rundell and Bridge|Rundell Bridge and Co.]], Pugin provided designs for silver from 1828, using the 14th-century Anglo-French Gothic vocabulary that he would continue to favour later in designs for the new Palace of Westminster.<ref>{{cite web |url=http://www.victorianweb.org/art/design/pugin/bio.html |title=Augustus Welby Northmore Pugin (1812–52) |publisher=The Victorian Web |access-date=3 October 2008}}</ref> Between 1821 and 1838 Pugin and his father published a series of volumes of [[architectural drawing]]s, the first two entitled, ''Specimens of Gothic Architecture'', and the following three, ''Examples of Gothic Architecture'', that were to remain both in print and the standard references for Gothic Revivalists for at least the next century.{{sfn|Hill|2007|pp=52-53}}

In ''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 whole medieval ethos, suggesting that Gothic architecture was the product of a purer society. In ''The True Principles of Pointed or Christian Architecture'' (1841), he set out his "two great rules of design: 1st, that there should be no features about a building which are not necessary for convenience, construction or propriety; 2nd, that all ornament should consist of enrichment of the essential construction of the building". Urging modern craftsmen to seek to emulate the style of medieval workmanship as well as reproduce its methods, Pugin sought to reinstate Gothic as the true Christian architectural style.{{sfn|Charlesworth|2002c|pp=168–171}}

Pugin's most notable project was the [[Palace of Westminster|Houses of Parliament]] in London, after its predecessor was largely destroyed in a fire in 1834.{{efn|Pugin recorded his delight at the destruction of what he considered the wholly inadequate earlier restorations of [[James Wyatt]] and [[John Soane]]. "You have doubtless seen the accounts of the late great conflagration at Westminster. There is nothing much to regret...a vast amount of Soane's mixtures and Wyatt's heresies have been consigned to oblivion. Oh it was a glorious sight to see his composition mullions and cement pinnacles flying and cracking."{{sfn|Atterbury|Wainwright|1994|p=219}}}}{{sfn|Hill|2007|p=317}} His part in the design consisted of two campaigns, 1836–1837 and again in 1844 and 1852, with the classicist [[Charles Barry]] as his nominal superior. Pugin provided the external decoration and the interiors, while Barry designed the symmetrical layout of the building, causing Pugin to remark, "All Grecian, Sir; Tudor details on a classic body".{{sfn|Atterbury|Wainwright|1994|p=221}}

===Ruskin and Venetian Gothic===
{{Main|Venetian Gothic architecture|High Victorian Gothic}}
[[File:Ismailiya Palace from the corner.jpg|upright=1.3|thumb|Venetian Gothic in [[Baku]], [[Azerbaijan]]]]

[[John Ruskin]] supplemented Pugin's ideas in his two influential theoretical works, ''[[The Seven Lamps of Architecture]]'' (1849) and [[The Stones of Venice (book)|''The Stones of Venice'']] (1853). Finding his architectural ideal in [[Venice]], Ruskin proposed that Gothic buildings excelled above all other architecture because of the "sacrifice" of the stone-carvers in intricately decorating every stone. In this, he drew a contrast between the physical and spiritual satisfaction which a medieval craftsman derived from his work, and the lack of these satisfactions afforded to modern, [[Industrial Revolution|industrialised]] labour.{{efn|Ruskin also had an abhorrence of the contemporary "restorer" of Gothic buildings. Writing in the Preface to the first edition of his ''The Seven Lamps of Architecture'', he remarked; "[My] whole time has been lately occupied in taking drawings from the one side of buildings, of which masons were knocking down the other".{{sfn|Ruskin|1989|p=ix}}}}{{sfn|Charlesworth|2002c|p=343}}

By declaring the [[Doge's Palace, Venice|Doge's Palace]] to be "the central building of the world", Ruskin argued the case for Gothic government buildings as Pugin had done for churches, though mostly only in theory. When his ideas were put into practice, Ruskin often disliked 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 that pair's [[Oxford University Museum of Natural History]].{{sfn|Dixon|Muthesius|1993|p=160}} A major clash between the Gothic and Classical styles in relation to governmental offices occurred less than a decade after the publication of ''The Stones of Venice''. A public competition for the construction of a new [[Foreign and Commonwealth Office|Foreign Office]] in [[Whitehall]] saw the decision to award first place to a Gothic design by [[George Gilbert Scott]] overturned by the Prime Minister, [[Henry John Temple, 3rd Viscount Palmerston|Lord Palmerston]], who successfully demanded a building in the [[Italianate architecture|Italianate]] style.{{efn|The rumour that Scott repurposed his Foreign Office design for the [[St. Pancras Renaissance London Hotel|Midland Grand Hotel]] is unfounded.{{sfn|Cherry|Pevsner|2002|p=362}}}}{{sfn|Stamp|2015|p=152}}

===Ecclesiology and funerary style===
In England, the [[Anglicanism|Church of England]] was undergoing a revival of [[Anglo-Catholic]] and [[Ritualism|ritualist]] ideology in the form of the [[Oxford Movement]], and it became desirable to build large numbers of new churches to cater for the growing population, and cemeteries for their hygienic burials. This found ready exponents in the universities, where the [[ecclesiological movement]]<!-- do not link to ecclesiology, which is different--> was forming. Its proponents believed that Gothic was the ''only'' style appropriate for a parish church, and favoured a particular era of Gothic architecture – the "[[Decorated Period|decorated]]". The [[Cambridge Camden Society]], through its journal ''The Ecclesiologist'', was so savagely critical of new church buildings that were below its exacting standards and its pronouncements were followed so avidly that it became the epicentre of the flood of [[Victorian restoration]] that affected most of the Anglican cathedrals and parish churches in England and Wales.{{sfn|Clark|1983|pp=155–174}}

[[File:Exeter College Chapel, Oxford - Diliff.jpg|left|upright=1.4|thumb|[[Exeter College, Oxford]] Chapel]]

[[St Luke's Church, Chelsea]], was a new-built [[Commissioner's Church]] of 1820–1824, partly built using a grant of £8,333 towards its construction with money voted by [[Parliament of the United Kingdom|Parliament]] as a result of the [[Church Building Act 1818]].{{sfn|Port|2006|p=327}} It is often said to be the first Gothic Revival church in London,{{sfn|Germann|1972|p=9}} and, as [[Charles Locke Eastlake]] put it: "probably the only church of its time in which the main roof was groined throughout in stone".{{sfn|Eastlake|2012|p=141}} Nonetheless, the parish was firmly [[low church]], and the original arrangement, modified in the 1860s, was as a "preaching church" dominated by the pulpit, with a small altar and wooden galleries over the nave aisle.<ref>{{Cite web|url=http://www.chelseaparish.org/stlukes.htm|title=St Luke's Church – A Brief History|publisher=St Luke's Parochial Church Council|access-date=2 November 2012}}</ref>

The development of the private [[Magnificent Seven, London|major metropolitan cemeteries]] was occurring at the same time as the movement; [[William Tite|Sir William Tite]] pioneered the first cemetery in the Gothic style at [[West Norwood Cemetery|West Norwood]] in 1837, with chapels, gates, and decorative features in the Gothic manner, attracting the interest of contemporary architects such as [[George Edmund Street]], Barry, and [[William Burges]]. The style was immediately hailed a success and universally replaced the previous preference for classical design.<ref>{{Cite web|url=https://courtauld.ac.uk/event/west-norwood-cemetery|title=West Norwood Cemetery|publisher=The Courtauld Institute of Art|access-date=6 May 2020|archive-date=16 July 2020|archive-url=https://web.archive.org/web/20200716181401/https://courtauld.ac.uk/event/west-norwood-cemetery|url-status=dead}}</ref>

Not every architect or client was swept away by this tide. Although Gothic Revival succeeded in becoming an increasingly familiar style of architecture, the attempt to associate it with the notion of high church superiority, as advocated by Pugin and the ecclesiological movement, was anathema to those with ecumenical or nonconformist principles. [[Alexander Thomson|Alexander "Greek" Thomson]] launched a famous attack; "We are told we should adopt [Gothic] because it is the Christian style, and this most impudent assertion has been accepted as sound doctrine even by earnest and intelligent Protestants; whereas it ought only to have force with those who believe that Christian truth attained its purest and most spiritual development at the period when this style of architecture constituted its corporeal form".{{sfn|Stamp|1997|p=1}} Those rejecting the link between Gothic and Catholicism looked to adopt it solely for its aesthetic romantic qualities, to combine it with other styles, or look to northern European [[Brick Gothic]] for a more plain appearance; or in some instances all three of these, as at the non-denominational [[Abney Park Cemetery]] in east London, designed by [[William Hosking|William Hosking FSA]] in 1840.<ref>{{NHLE|num=1000789 |desc=Abney Park Cemetery, Hackney |date=1 October 1987|access-date=11 May 2018}}</ref>

==Viollet-le-Duc and Iron Gothic==
[[File:Carcassonne-vignes.jpg|upright=1.4|thumb|right|View of [[Carcassonne]]]]
France had lagged slightly in entering the neo-Gothic scene, but produced a major 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.{{efn|In the Preface to his ''Dictionary of French Architecture from 11th to 16th Century'' (1854–1868) (''[[:s:fr:Dictionnaire raisonné de l'architecture française du XIe au XVIe siècle|Dictionnaire raisonné de l'architecture française du XIe au XVIe siècle]]''), le-Duc wrote of the ignorance of Gothic architecture prevalent at the start of the 19th century: "as for [buildings] which had been constructed between the end of the Roman empire and the fifteenth century, they were scarcely spoken of except to be cited as the products of ignorance or barbarousness".{{sfn|Charlesworth|2002c|p=611}}}} He believed in restoring buildings to a state of completion that they would not have known even when they were first built, theories he applied to his restorations of the walled city of [[Carcassonne]],{{sfn|Midant|2002|p=96}} and to [[Notre-Dame de Paris|Notre-Dame]] and [[Sainte Chapelle]] in Paris.{{sfn|Midant|2002|p=54}} In this respect he differed from his English counterpart Ruskin, as he often replaced the work of mediaeval stonemasons. His rational approach to Gothic stood in stark contrast to the revival's romanticist origins.{{sfn|Pevsner|1969|p=18}}{{sfn|Midant|2002|p=35}} Throughout his career he remained in a quandary as to whether iron and masonry should be combined in a building. Iron, in the form of iron anchors, had been used in the most ambitious buildings of medieval Gothic, especially but not only for tracery.

It had in fact been used in "Gothic" buildings since the earliest days of the revival. In some cases, cast iron enabled something like a perfection of medieval design. It was only with Ruskin and the archaeological Gothic's demand for historical truth that iron, whether it was visible or not, was deemed improper for a Gothic building. Ultimately, the utility of iron won out: "substituting a cast iron shaft for a granite, marble or stone column is not bad, but one must agree that it cannot be considered as an innovation, as the introduction of a new principle. Replacing a stone or wooden [[lintel]] by an iron [[Bressummer|breastsummer]] is very good".{{sfn|Midant|2002|p=154}} He strongly opposed illusion, however: reacting against the casing of a cast iron pillar in stone, he wrote; "il faut que la pierre paraisse bien être de la pierre; le fer, du fer; le bois, du bois" (stone must appear to be stone; iron, iron; wood, wood).{{sfn|Pevsner|1969|p=17}}

[[File:Gothic Bridge 28 east cloudy jeh.jpg|thumb|upright=1.4|Cast-iron Gothic tracery supports a bridge by [[Calvert Vaux]], in [[Central Park]], New York City]]

The arguments against modern construction materials began to collapse in the mid-19th century as great prefabricated structures such as the glass and iron [[The Crystal Palace|Crystal Palace]] and the glazed courtyard of the [[Oxford University Museum of Natural History]] were erected, which appeared to embody Gothic principles.{{efn|Ruskin was unimpressed by [[Joseph Paxton]]'s [[The Crystal Palace|Crystal Palace]], describing it as nothing but "a greenhouse larger than ever greenhouse was built before".{{sfn|Pevsner|1969|p=37}}}}<ref>{{cite web |url=http://darkwing.uoregon.edu/~struct/resources/case_studies/case_studies_simplebeams/paxton_palace/paxton_palace.html |title=The Crystal Palace of Hyde Park |publisher=University of Oregon|access-date=4 April 2008 |url-status=dead |archive-url=https://web.archive.org/web/20120312125040/http://darkwing.uoregon.edu/~struct/resources/case_studies/case_studies_simplebeams/paxton_palace/paxton_palace.html |archive-date=12 March 2012}}</ref><ref>{{Cite web|url=https://www.oumnh.ox.ac.uk/museums-architecture|title=The Museum's architecture|publisher=Oxford University Museum of Natural History|website=www.oumnh.ox.ac.uk|access-date=6 May 2020}}</ref> 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.{{sfn|Pevsner|1969|p=34}} Though these projects were never realised, they influenced several generations of designers and architects, notably [[Antoni Gaudí]] in Spain and, in England, [[Benjamin Bucknall]], Viollet's foremost English follower and translator, whose masterpiece was [[Woodchester Mansion]].<ref>{{NHLE|num=1340703 |desc=The Mansion, Woodchester |access-date=11 May 2018}}</ref> The flexibility and strength of cast-iron freed neo-Gothic designers to create new structural Gothic forms impossible in stone, as in [[Calvert Vaux]]'s cast-iron Gothic bridge in [[Central Park]], New York dating from the 1860. Vaux enlisted openwork forms derived from Gothic blind-arcading and window tracery to express the spring and support of the arching bridge, in flexing forms that presage [[Art Nouveau]].<ref>{{Cite web|url=https://www.centralpark.com/locations/gothic-bridge/|title=Gothic Bridge (94th street)|publisher=Central Park|website=www.centralpark.com|access-date=6 May 2020}}</ref>

==Collegiate Gothic==
[[File:Burgesplan.jpg|thumb|upright=1.2|[[Trinity College, Hartford]]: Burges's revised, three-quadrangle, masterplan]]
[[File:Saint Teresa of Avila Church, Bodega (2023)-L1003432.jpg|thumb|upright=0.9|right|Church of St Avila, Bodega, California]]
{{Main|Collegiate Gothic}}
In the United States, Collegiate Gothic was a late and literal resurgence of the English Gothic Revival, adapted for American college and university campuses. The term "Collegiate Gothic" originated from American architect [[Alexander Jackson Davis]]'s handwritten description of his own "English Collegiate Gothic Mansion" of 1853 for the Harrals of Bridgeport.<ref>{{cite book|last1=Truettner|first1=Julia M.|title=Aspirations for Excellence: Alexander Jackson Davis and the First Campus Plan for the University of Michigan, 1838|date=31 December 2002|publisher=University of Michigan Press|page=49|url=https://books.google.com/books?id=Hod9Lrg7FW8C&pg=PA49|access-date=16 March 2018|isbn=0472112775}}</ref><ref>{{cite web|last1=Golovin|first1=Anne Castrodale|title=Bridgeport's Gothic Ornament The Harral-Wheeler House|url=https://repository.si.edu/bitstream/handle/10088/2417/SSHT-0018_Hi_res.pdf?sequence=1&isAllowed=y|website=Smithsonian Institution|publisher=Smithsonian Institution Press|access-date=16 March 2018}}</ref> By the 1890s, the movement was known as "Collegiate Gothic".<ref>{{cite book|last1=Marter|first1=Joan M.|last2=Regain|first2=Melissa|title=The Grove Encyclopedia of American Art, Volume 1|date=2011|publisher=Oxford University Press|page=362|url=https://books.google.com/books?id=sPGdBxzaWj0C&pg=RA1-PA362|access-date=16 March 2018|isbn=9780195335798}}</ref>

The firm of [[Cope & Stewardson]] was an early and important exponent, transforming the campuses of [[Bryn Mawr College]],<ref>{{Cite web|url=http://www.brynmawr.edu/library/exhibits/thomas/gothic.html|title=Collegiate Gothic – Cope and Stewardson|publisher=Bryn Mawr|website=www.brynmawr.edu|access-date=6 May 2020|archive-date=3 March 2019|archive-url=https://web.archive.org/web/20190303222438/http://www.brynmawr.edu/library/exhibits/thomas/gothic.html|url-status=dead}}</ref> [[Princeton University]]<ref>{{Cite web|url=http://www.princetonmagazine.com/princeton-universitys-gothic-love-affair/|title=Princeton University's Gothic Love Affair|publisher=Princeton Magazine|access-date=6 May 2020}}</ref> and the [[University of Pennsylvania]] in the 1890s.<ref>{{Cite web|url=https://www.design.upenn.edu/architectural-archives/cope-and-stewardson|title=Architectural Archives: Weitzman School of Design|publisher= University of Pennsylvania|website=www.design.upenn.edu|access-date=6 May 2020}}</ref> In 1872, [[Abner Jackson]], the President of [[Trinity College (Connecticut)|Trinity College, Connecticut]], visited Britain, seeking models and an architect for a planned new campus for the college. William Burges was chosen and he drew up a four-quadrangled masterplan, in his [[French Gothic#Early Gothic|Early French]] style. Lavish illustrations were produced by [[Axel Haig]].{{sfn|Crook|2013|pp=221–223}} However, the estimated cost, at just under one million dollars, together with the sheer scale of the plans, thoroughly alarmed the College Trustees<ref name="Armstrong 2000">{{cite journal | last = Armstrong | first = Christopher Drew | title = Qui Transtulit Sustinet"&nbsp;– William Burges, Francis Kimball, and the Architecture of Hartford's Trinity College | journal = Journal of the Society of Architectural Historians | publisher = University of California Press | volume = 59 | issue = 2 | date = June 2000 | pages = 194–215 | jstor = 991590 | doi = 10.2307/991590 }}</ref> and only one-sixth of the plan was executed, the present [[Trinity College Long Walk|Long Walk]], with [[Francis H. Kimball]] acting as local, supervising, architect, and [[Frederick Law Olmsted]] laying out the grounds.{{sfn|Crook|2013|pp=221–223}} Hitchcock considers the result, "perhaps the most satisfactory of all of [Burges's] works and the best example anywhere of Victorian Gothic collegiate architecture".{{sfn|Hitchcock|1968|p=187}}

The movement continued into the 20th century, with Cope & Stewardson's campus for [[Washington University in St. Louis]] (1900–1909),<ref>{{Cite web|url=https://wustl.edu/about/history-traditions/|title=History and Traditions|publisher=Washington University in St. Louis|access-date=6 May 2020}}</ref> [[Charles Donagh Maginnis]]'s buildings at [[Boston College]] (1910s) (including [[Gasson Hall]]),<ref>{{Cite web|url=http://library.bc.edu/lafargeglass/items/show/55|title=Maginnis, Charles Donagh (1867–1955)|publisher=Boston College University Libraries|access-date=6 May 2020}}</ref> [[Ralph Adams Cram]]'s design for the [[Princeton University Graduate College]] (1913),<ref>{{Cite web|url=https://gradschool.princeton.edu/about/history/graduate-college-history|title=Graduate College History|publisher=Princeton University Graduate School|website=gradschool.princeton.edu|access-date=6 May 2020|archive-date=17 July 2021|archive-url=https://web.archive.org/web/20210717031037/https://gradschool.princeton.edu/about/history/graduate-college-history|url-status=dead}}</ref> and [[James Gamble Rogers]]' reconstruction of the campus of [[Yale University]] (1920s).<ref>{{Cite web|url=https://archives.yale.edu/repositories/12/resources/1923|title=Collection: Index of architectural drawings of Yale University buildings by James Gamble Rogers &#124; Archives at Yale|website=archives.yale.edu}}</ref> [[Charles Klauder]]'s Gothic Revival skyscraper on the [[University of Pittsburgh]]'s campus, the [[Cathedral of Learning]] (1926) exhibited Gothic stylings both inside and out, while using modern technologies to make the building taller.<ref>{{Cite web|url=https://library.cmu.edu/ArchArch/collection/charles-z-klauder|title=Charles Z. Klauder Architecture Archives|publisher=Carnegie Mellon University|access-date=6 May 2020|archive-date=16 July 2020|archive-url=https://web.archive.org/web/20200716163328/https://library.cmu.edu/ArchArch/collection/charles-z-klauder|url-status=dead}}</ref>

{{anchor|Vernacular adaptations}}

==Vernacular adaptations and the revival in Oceania==
{{Main|Carpenter Gothic}}
[[Carpenter Gothic]] houses and small churches became common in North America and other places in the late 19th century.{{sfn|Poppeliers|Chambers|Schwartz|1979}} These structures adapted Gothic elements such as pointed arches, steep gables, and towers to traditional American [[light-frame construction]]. The invention of the [[scroll saw]] and mass-produced wood moldings allowed a few of these structures to mimic the florid [[Window|fenestration]] of the High Gothic. But, in most cases, Carpenter Gothic buildings were relatively unadorned, retaining only the basic elements of pointed-arch windows and steep gables. A well-known example of Carpenter Gothic is a house in [[Eldon, Iowa]], that [[Grant Wood]] used for the background of his painting [[American Gothic]].<ref>{{cite web|url=http://www.wapellocounty.org/americangothic/index.htm |title=American Gothic House Center |publisher= Wapello County Conservation Board|website=Wapellocounty.org |date=18 December 2009 |access-date=11 June 2011 |url-status=dead |archive-url=https://web.archive.org/web/20090618032007/http://www.wapellocounty.org/americangothic/index.htm |archive-date=18 June 2009 |df=dmy-all }}</ref>

===Australia===
Australia, in particular in Melbourne and Sydney, saw the construction of large numbers of Gothic Revival buildings. [[William Wardell]] (1823–1899) was among the country's most prolific architects; born and trained in England, after emigrating his most notable Australian designs include [[St Patrick's Cathedral, Melbourne]] and [[St John's College, University of Sydney|St John's College]] and [[St Mary's Cathedral, Sydney|St Mary's Cathedral]] in Sydney. In common with many other 19th century architects, Wardell could deploy different styles at the command of his clients; [[Government House, Melbourne]] is [[Italianate architecture|Italianate]].<ref>{{Cite web|url=https://www.federation-house.com/gothic-revival|title=Gothic-Revival|first=Jon|last=Ruwolt|publisher=Federation House|access-date=6 May 2020}}</ref> His banking house for the [[English, Scottish and Australian Bank]] in Melbourne has been described as "the Australian masterpiece of neo-Gothic".<ref>{{Cite web|url=https://www.domain.com.au/news/golden-era-of-neogothic-20101112-17qbi/|title=Golden era of neo-Gothic|first=Jenny|last=Brown|publisher=Domain|access-date=6 May 2020}}</ref> This claim has also been made for [[Edmund Blacket]]'s [[Great Hall of the University of Sydney|MacLaurin Hall]] at the [[University of Sydney]],{{sfn|Finnerty|2001|p=38}} which sits in the [[University of Sydney Quadrangle|quadrangle complex]] described as "arguably the most important group of Gothic and Tudor Revival style architecture in Australia".<ref>{{Cite web|url=https://architectureau.com/articles/university-of-sydney-receives-state-heritage-listing/|title=University of Sydney receives state heritage listing|publisher=ARCHITECTUREAU|website=ArchitectureAU.com|access-date=6 May 2020}}</ref>

===New Zealand===
[[File:Old St Paul's church, Wellington, 2016-01-25-7.jpg|thumb|right|Old St Paul's in [[Wellington, New Zealand]]]]
[[Benjamin Mountfort]], born in Britain, trained in Birmingham, and subsequently resident in [[Canterbury, New Zealand]] imported the Gothic Revival style to his adopted country and designed Gothic Revival churches in both wood and stone, notably in the city of [[Christchurch]].<ref>{{Cite web|url=https://teara.govt.nz/en/biographies/1m57/mountfort-benjamin-woolfield|title=Mountfort, Benjamin Woolfield|author=Dictionary of New Zealand Biography|publisher=New Zealand Ministry for Culture and Heritage|website=teara.govt.nz|access-date=6 May 2020}}</ref> 

[[Frederick Thatcher]] designed wooden churches in the Gothic Revival style, for example [[Old St. Paul's, Wellington]], contributing to what has been described as New Zealand's "one memorable contribution to world architecture".<ref>{{Cite web|url=https://nzhistory.govt.nz/media/photo/old-saint-pauls|title=Old St Paul's|publisher=New Zealand history online|website=nzhistory.govt.nz|access-date=6 May 2020}}</ref> [[St Mary of the Angels, Wellington]] by [[Frederick de Jersey Clere]] is in the French Gothic style, and was the first Gothic design church built in ferro-concrete.<ref>{{Cite web|url=http://wellingtoncityheritage.org.nz/architects/frederick-de-jersey-clere|title=Frederick de Jersey Clere – Wellington Heritage|publisher=Wellington City Council|website=wellingtoncityheritage.org.nz|access-date=6 May 2020}}</ref> Other examples in [[Wellington]] include [[John Sydney Swan]]'s now-demolished [[Erskine College, Wellington|Erskine College]].

The style also found favour in the southern New Zealand city of [[Dunedin]], where the wealth brought in by the [[Otago gold rush]] of the 1860s allowed for substantial stone edifices to be constructed, using hard, dark [[breccia]] stone and a local white limestone, [[Oamaru stone]]. Among them were [[Maxwell Bury]]'s [[University of Otago Registry Building]]<ref>{{Cite web|url=https://teara.govt.nz/en/zoomify/44761/university-of-otago-building-dunedin|title=University of Otago building, Dunedin|first=Maxwell|last=Bury|publisher=New Zealand Ministry for Culture and Heritage|website=teara.govt.nz|access-date=6 May 2020}}</ref> and the [[Dunedin Law Courts]] by [[John Campbell (architect)|John Campbell]].<ref>{{Cite web|url=http://wellingtoncityheritage.org.nz/architects/government-architect-john-campbell|title=Government Architect – John Campbell – Wellington Heritage|publisher=Wellington City Council|website=wellingtoncityheritage.org.nz|access-date=6 May 2020}}</ref>

Welsh-born [[William Henry Skinner|William Skinner]] designed the third and current building for [[St Paul's Church, Auckland|St Paul's]] in [[Auckland]] in the Gothic Revival style. Known as the [[Mother church|'Mother Church']], due to its foundation within a year of the city’s establishment in 1841, the dark [[Rangitoto Island|Rangitoto]] [[basalt]] and light Oamaru limestone church was consecrated in 1895.<ref>{{Cite web |title=St Paul's Church (Anglican) |url=https://www.heritage.org.nz/list-details/650/Listing |access-date=31 May 2025 |website=Heritage New Zealand}}</ref> Skinner also designed the [[Agathis|kauri]] timber St James' Union Church in [[Thames, New Zealand|Thames]] in the Gothic style.<ref>{{Cite web |title=St James' Union Church |url=https://www.heritage.org.nz/list-details/131/Listing |access-date=31 May 2025 |website=Heritage New Zealand}}</ref>

===Pacific islands===
Several examples of Gothic Revival architecture can be found among the buildings of the Pacific islands. Notable among these is [[Sacred Heart Church, Levuka|Sacred Heart Church]] in [[Levuka]], [[Fiji]], built by Father Louyot in 1858. This unusual structure consists of a church and presbytery in a local version of [[Carpenter Gothic]] alongside a stone church tower.

==Global Gothic==
[[File:CSTM Mumbai Panoramic view by Dr. Raju Kasambe 20190712 (4) (cropped and fixed angles).jpg|thumb|left|upright=1.5|[[Chhatrapati Shivaji Terminus]] in [[Mumbai]], India. A mixture of Romanesque, Gothic and [[Indo-Saracenic architecture|Indian elements]].]]
[[Henry-Russell Hitchcock]], the architectural historian, noted the spread of the Gothic Revival in the 19th and early 20th centuries, "wherever English culture extended – as far as the West Coast of the United States and to the remotest Antipodes".{{sfn|Hitchcock|1968|p=97}} The [[British Empire]], almost at its geographic peak at the height of the Gothic Revival, assisted or compelled this spread. The English-speaking [[dominions]], Canada, Australia particularly the state of Victoria and New Zealand generally adopted British styles in toto (see above); other parts of the empire saw regional adaptations. India saw the construction of many such buildings, in styles termed [[Indo-Saracenic architecture|Indo-Saracenic]] or Hindu-Gothic.{{efn|[[William Burges]]'s unexecuted plans for the [[Sir J. J. School of Art]], the “most marvellous design that he ever made”, were described as “compelling rigid thirteenth century Gothic to fulfil the requirements of the [[torrid zone]]”.{{sfn|London|2002|p=22}}}}{{sfn|Morris|1986|p=31}} Notable examples include [[Chhatrapati Shivaji Terminus]] (formerly Victoria Terminus){{sfn|Morris|1986|p=133}} and the [[Taj Mahal Palace Hotel]], both in [[Mumbai]].{{sfn|Morris|1986|pp=149–150}} At the hill station of [[Shimla]], the [[summer capital]] of [[British Raj|British India]], an attempt was made to recreate the [[Home counties]] in the foothills of the [[Himalayas]]. Although Gothic Revival was the predominant architectural style, alternatives were also deployed; [[Rashtrapati Niwas]], the former Viceregal Lodge, has been variously described as [[Scottish baronial architecture#Scottish Baronial Revival|Scottish Baronial Revival]],{{sfn|Morris|1986|p=75}} [[Tudor Revival architecture|Tudor Revival]]<ref>{{Cite web|url=http://www.victorianweb.org/art/architecture/irwin/1.html|title=The Viceregal Lodge (now the Institute of Advanced Studies), Shimla, India, by Henry Irwin|publisher=The Victorian Web|website=www.victorianweb.org|access-date=6 May 2020}}</ref> and [[Jacobethan]].{{efn|Thomas R. Metcalf, in his study ''An Imperial Vision: Indian Architecture and the British Raj'', records a debate at the [[Royal Society of Arts]] in London in 1873 between proponents of the European and indigenous approaches. While T. Roger Smith contended that, "as our administration exhibits European justice, order, law and honour, so our buildings ought to hold up a high standard of European art", William Emerson argued that "it is impossible for the architecture of the west to be suitable for the natives of the east".{{sfn|Metcalf|1989|p=1}}}}<ref>{{Cite web|url=http://www.victorianweb.org/art/architecture/irwin/das/2.html|title=Henry Irwin and the Indo Saracenic Movement Reconsidered: The Lodge on Observatory Hill|publisher=The Victorian Web|website=www.victorianweb.org|access-date=6 May 2020}}</ref>

Other examples in the east include the late 19th century [[Church of the Saviour, Beijing]], constructed on the orders of the [[Guangxu Emperor]] and designed by the Catholic missionary and architect [[Alphonse Favier]];{{sfn|Clark|2019|p=XXIII}} and the [[Wat Niwet Thammaprawat]] in the [[Bang Pa-In Royal Palace]] in [[Bangkok]], by the Italian [[Joachim Grassi]].<ref>{{Cite news|url=https://www.bangkokpost.com/life/arts-and-entertainment/1873849|title=Gothic but Buddhist|first=Sarot|last=Meksophawannakul|newspaper=Bangkok Post|date=8 March 2020|access-date=5 May 2020}}</ref> In Indonesia, (the former colony of the [[Dutch East Indies]]), the [[Jakarta Cathedral]] was begun in 1891 and completed in 1901 by Dutch architect Antonius Dijkmans;<ref>{{Cite web|url=https://www.thejakartapost.com/news/2013/05/06/parishioners-split-cathedral-ac-installation.html|title=Parishioners split on Cathedral AC installation|first=Indah |last=Setiawati|publisher=The Jakarta Post|date = 6 May 2013|access-date=6 May 2020}}</ref> while further north in the islands of the Philippines, the [[San Sebastian Church (Manila)|San Sebastian Church]], designed by architects Genaro Palacios and [[Gustave Eiffel]], was consecrated in 1891 in the still Spanish colony.<ref>{{cite web|url=http://whc.unesco.org/en/tentativelists/518/ |archive-url=https://web.archive.org/web/20150323202626/http://whc.unesco.org/en/tentativelists/518/ |url-status=dead |archive-date=23 March 2015 |title=San Sebastian Church|publisher=UNESCO |access-date=11 May 2018}}</ref> Church building in [[South Africa]] was extensive, with little or no effort to adopt vernacular forms. [[Robert Gray (bishop of Cape Town)|Robert Gray]], the first [[Anglican Diocese of Cape Town|bishop]] of [[Cape Town]], wrote; "I am sure we do not overestimate the importance of real Churches built after the fashion of our English churches". He oversaw the construction of some fifty such buildings between 1848 and his death in 1872.{{efn|An unusual feature of the church building programme overseen by [[Robert Gray (bishop of Cape Town)|Bishop Gray]] was that the majority of the churches were designed by his wife, [[Sophy Gray|Sophy]], a considerable rarity at a time when women were almost entirely excluded from the [[profession]]s.{{sfn|Martin|2012|p=117}}}}{{sfn|Martin|2012|p=121}} [[South America]] saw a later flourishing of the Revival, particularly in church architecture,{{sfn|Sundt|2017|p=119}} for example the [[São Paulo Cathedral|Metropolitan Cathedral of São Paulo]] in Brazil by the German [[Maximilian Emil Hehl]],<ref>{{Cite web|url=http://cidadedesaopaulo.com/v2/atrativos/catedral-da-se/|title=Cidade de São Paulo|publisher=City of São Paulo Tourism Office|access-date=6 May 2020|archive-date=17 July 2020|archive-url=https://web.archive.org/web/20200717053822/http://cidadedesaopaulo.com/v2/atrativos/catedral-da-se/|url-status=dead}}</ref> the [[Basílica del Voto Nacional|Basilica of the National Vow]] in Ecuador, the [[Sanctuary of Las Lajas]] in Colombia, the [[Basílica de Nuestra Señora del Perpetuo Socorro]] in Chile, the [[Virgen del Carmen y Santa Teresita, Montevideo|Church of the Virgin of Mount Carmel and St. Thérèse of Lisieux]] in Uruguay, or the [[Cathedral of La Plata]] in Argentina.{{sfn|Sundt|2017|pp=124–125}}

==20th and 21st centuries==
[[File:National Cathedral in DC.jpg|right|upright=1.3|thumb|Construction of [[Washington National Cathedral]] began in 1907 and was completed in 1990.]]
The Gothic style dictated the use of structural members in [[Compression member|compression]], leading to tall, buttressed buildings with interior columns of [[Load-bearing wall|load-bearing]] masonry and tall, narrow windows. But, by the start of the 20th century, technological developments such as the [[steel frame]], the [[incandescent light bulb]] and the [[elevator]] made this approach obsolete. Steel framing supplanted the non-ornamental functions of [[rib vault]]s and [[flying buttresses]], providing wider open interiors with fewer columns interrupting the view.

Some architects persisted in using Neo-Gothic tracery as applied ornamentation to an iron skeleton underneath, for example in [[Cass Gilbert]]'s 1913 [[Woolworth Building]]<ref>{{Cite web|url=https://www.cassgilbertsociety.org/works/nyc-woolworth-bldg/|title=The Woolworth Building|publisher=Cass Gilbert Society|access-date=7 May 2020}}</ref> skyscraper in New York and [[Raymond Hood]]'s 1922 [[Tribune Tower]] in Chicago.<ref>{{Cite web|url=http://www.architecture.org/learn/resources/buildings-of-chicago/building/tribune-tower/|title=Tribune Tower|publisher=Chicago Architecture Center|access-date=7 May 2020}}</ref> The [[Tower Life Building]] in San Antonio, completed in 1929, is noted for the arrays of decorative [[gargoyle]]s on its upper floors.<ref>{{cite web|url=https://www.usnews.com/news/best-states/texas/articles/2020-04-05/the-guarding-gargoyles-of-downtown-san-antonio-amid-covid-19?context=amp|title=The Guarding Gargoyles of Downtown San Antonio|publisher=USA News|date=5 April 2020}}</ref> But, over the first half of the century, Neo-Gothic was supplanted by [[Modernism]], although some modernist architects saw the Gothic tradition of architectural form entirely in terms of the "honest expression" of the technology of the day, and saw themselves as heirs to that tradition, with their use of rectangular frames and exposed iron girders.
[[File:Liverpool Anglican Cathedral (64928225).jpeg|left|upright=1.3|thumb|[[Liverpool Cathedral]], whose construction ran from 1903 to 1978]]
In spite of this, the Gothic Revival continued to exert its influence, simply because many of its more massive projects were still being built well into the second half of the 20th century, such as [[Giles Gilbert Scott]]'s [[Liverpool Cathedral]]<ref>{{NHLE|desc=Anglican Cathedral Church of Christ, Liverpool|num=1361681|grade=I|access-date=5 May 2020}}</ref> and the [[Washington National Cathedral]] (1907–1990).<ref>{{Cite web|url=https://cathedral.org/history/timeline/|title=Timeline|publisher=Washington National Cathedral|access-date=6 May 2020}}</ref> [[Ralph Adams Cram]] became a leading force in American Gothic, with his most ambitious project the [[Cathedral of St. John the Divine]] in New York (claimed to be the largest cathedral in the world), as well as Collegiate Gothic buildings at [[Princeton University]].<ref>{{Cite web|url=https://www.britannica.com/biography/Ralph-Adams-Cram|title=Ralph Adams Cram: American architect and writer|publisher=Encyclopedia Britannica|access-date=6 May 2020}}</ref> Cram said "the style hewn out and perfected by our ancestors [has] become ours by uncontested inheritance".{{sfn|Bartlett|2001|p=21}}

Though the number of new Gothic Revival buildings declined sharply after the 1930s, they continue to be built. [[St Edmundsbury Cathedral]], the cathedral of [[Bury St Edmunds]] in [[Suffolk]], was expanded and reconstructed in a neo-Gothic style between the late 1950s and 2005, and a commanding stone central tower was added.<ref>{{cite web|url=http://www.hughpearman.com/articles5/lastgothic.html |title=Return of the Goths: the last Anglican cathedral is nearly finished. And built to last 1,000 years. |author=Pearman, Hugh |date=13 March 2005 |work=Gabion: Retained Writing on Architecture |publisher=Hugh Pearman |url-status=dead |archive-url=https://web.archive.org/web/20050318063522/http://www.hughpearman.com/articles5/lastgothic.html |archive-date=18 March 2005 |df=dmy-all }}</ref> A new church in the Gothic style is planned for St. John Vianney Parish in [[Fishers, Indiana]].<ref>{{cite news|first=Caroline |last=Mooney |title=Architectural plans unveiled for church and campus complex over the next two decades |work=The Catholic Moment |location=[[Lafayette, Indiana]] |date=27 April 2008 |url=http://www.thecatholicmoment.org/articles/April/042708c.html |archive-url=https://web.archive.org/web/20080515021054/http://www.thecatholicmoment.org/articles/April/042708c.html |url-status=dead |archive-date=15 May 2008 }}</ref><ref>{{cite web|url=http://www.hdb.com/projects/stjohnvianneyNEW.html |title=St. John Vianney Fishers, Indiana |publisher=HDB/Cram and Ferguson |access-date=3 October 2008 |url-status=dead |archive-url=https://web.archive.org/web/20081008022917/http://www.hdb.com/projects/stjohnvianneyNEW.html |archive-date=8 October 2008 |df=dmy-all }}</ref> The Whittle Building at [[Peterhouse, Cambridge|Peterhouse]], [[University of Cambridge]], opened in 2016, matches the neo-Gothic style of the rest of the courtyard in which it is situated.<ref>{{Cite web|url=http://www.johnsimpsonarchitects.com/news-whittle-building-peterhouse-jsa.html|title=Prince of Wales opens the new Whittle Building|publisher=John Simpson Architects|access-date=6 May 2020}}</ref>

==Appreciation==
By 1872, the Gothic Revival was mature enough in the United Kingdom that [[Charles Locke Eastlake]], an influential professor of design, could produce ''A History of the Gothic Revival''.{{sfn|Eastlake|2012|loc=preface}} [[Kenneth Clark|Kenneth Clark's]], ''The Gothic Revival. An Essay'', followed in 1928, in which he described the Revival as "the most widespread and influential artistic movement which England has ever produced."{{sfn|Clark|1983|p=7}} The architect and writer [[Harry Stuart Goodhart-Rendel]] covered the subject of the Revival in an appreciative way in his [[Slade Professor of Fine Art|Slade Lectures]] in 1934.{{efn|In his speech in 1976, on receiving the [[Royal Gold Medal|RIBA Gold Medal]], [[John Summerson|Sir John Summerson]] recalled Rendel's contribution; "It was well known that Victorian architecture was bad or screamingly funny, or both. Rendel begged to differ, but what really stunned his audience was that he knew, and knew in great detail, what he was talking about".{{sfn|Goodhart-Rendel|1989|p=11}}}}{{sfn|Steegman|1970|p=v}} But the conventional early 20th century view of the architecture of the Gothic Revival was strongly dismissive, critics writing of "the nineteenth century architectural tragedy",{{sfn|Turnor|1950|p=111}} ridiculing "the uncompromising ugliness"{{sfn|Turnor|1950|p=91}} of the era's buildings and attacking the "sadistic hatred of beauty" of its architects.{{sfn|Clark|1983|p=191}}{{efn|[[Kenneth Clark]], despite his sympathetic approach, recalled that during his Oxford years it was generally believed not only that [[Keble College, Oxford|Keble College]] was "the ugliest building in the world" but that its architect was [[John Ruskin]], author of ''[[The Stones of Venice (book)|The Stones of Venice]].'' The college was built to the designs of the architect [[William Butterfield]].{{sfn|Clark|1983|p=2}}}} The 1950s saw further signs of a recovery in the reputation of Revival architecture. John Steegman's study, ''Consort of Taste'' (re-issued in 1970 as ''Victorian Taste'', with a foreword by [[Nikolaus Pevsner]]),{{efn|[[Nikolaus Pevsner]] was another early advocate of taking Victorian architecture seriously, and experienced similar challenges to [[Harry Stuart Goodhart-Rendel]] in conveying this message to a wider audience. The writer [[Michael Farr]] recalled a lecture given by Pevsner during the latter's tenure as [[Slade Professor of Fine Art]] at [[Cambridge University|Cambridge]]; "His student audience used to roll about in helpless laughter at his slides of [[Keble College, Oxford|Keble College]], the [[Albert Memorial]] and other examples of hilariously 'outrageous' Victorian design. [Pevsner] used to pause for a second or two, clear his throat and then continue with dogged determination."{{sfn|Harries|2011|p=451}}}} was published in 1950 and began a slow turn in the tide of opinion "towards a more serious and sympathetic assessment."{{sfn|Steegman|1970|p=2}} In 1958, Henry-Russell Hitchcock published his ''Architecture: Nineteenth and Twentieth Centuries'', as part of the [[Penguin Books|Pelican History of Art]] series edited by Nikolaus Pevsner. Hitchcock devoted substantial chapters to the Gothic Revival, noting that, while "there is no more typical nineteenth-century product than a Victorian Gothic church",{{sfn|Hitchcock|1968|p=100}} the success of the Victorian Gothic saw its practitioners design mansions,{{sfn|Hitchcock|1968|p=94}} castles,{{sfn|Hitchcock|1968|p=95}} colleges,{{sfn|Hitchcock|1968|p=96}} and parliaments.{{sfn|Hitchcock|1968|p=100}} The same year saw the foundation of the [[Victorian Society]] in England and, in 1963, the publication of ''Victorian Architecture'', an influential collection of essays edited by Peter Ferriday.{{sfn|Ferriday|1963|loc=Introduction}} By 2008, the fiftieth anniversary of the founding of the Victorian Society, the architecture of the Gothic Revival was more fully appreciated with some of its leading architects receiving scholarly attention and some of its best buildings, such as [[George Gilbert Scott]]'s [[St. Pancras Renaissance London Hotel|St Pancras Station Hotel]], being magnificently restored.{{sfn|Bradley|2007|p=163}} The Society's 50th anniversary publication, ''Saving A Century'', surveyed a half-century of losses and successes, reflected on the changing perceptions toward Victorian architecture and concluded with a chapter entitled "The Victorians Victorious".{{sfn|Stamp|2011|pp=43–44}}

==Gallery==

===Europe===
<gallery heights="150" mode="packed">
File:Parliament of Hungary November 2017.jpg|[[Hungarian Parliament Building]], [[Budapest]], Hungary: 1885–1904
File:Manchester Town Hall from Lloyd St.jpg|[[Manchester Town Hall]], England: 1868–1877
File:Neues Rathaus München 2018.jpg|[[New Town Hall (Munich)|New Town Hall]], [[Munich]], Germany: 1867–1874
File:Konkatedrala sv. Petra i Pavla Osijek.jpg|[[Osijek Co-cathedral|Co-cathedral]], [[Osijek]], Croatia: 1898
File:St Pancras Railway Station 2012-06-23.jpg|[[St Pancras railway station]], London, England: 1863–1868
File:EstacaoRossioLisboa.JPG|[[Rossio railway station|Rossio Station]], [[Lisbon]], Portugal: 1886–1887
File:Aerial image of Schwerin Castle (view from the east).jpg|[[Schwerin Castle]], Germany: 1845–1857
File:Castelul Sturdza din Miclăușeni.jpg|[[Sturdza Palace]], [[Iași County]], Romania: 1880–1904
File:Wien Rathaus hochauflösend.jpg|[[Vienna City Hall]], Austria: 1872–1883
File:De Haar castlle.jpg|[[De Haar Castle]], [[Utrecht]], The Netherlands: 1892–1907
</gallery>

===North America===
<gallery heights="150" mode="packed">
File:Basilica of Our Lady Immaculate.jpg|[[Basilica of Our Lady Immaculate]], [[Guelph]], [[Ontario]], Canada: 1876–1888 
File:Centre Block - Parliament Hill.jpg|[[Centre Block]] of the [[Canadian Parliament Buildings]], [[Ottawa]], Canada: 1916–1920
File:Santa Ana Catedral Nuestra Señora de Santa Ana 2.jpg|[[Cathedral of Santa Ana (El Salvador)|Cathedral of Santa Ana]], El Salvador: 1906–1913
File:Princeton (6035183309).jpg|[[Rockefeller College]], [[Princeton University|Princeton]], USA: 1877
File:Fachada del Templo Expiatorio del Santísimo Sacramento, Guadalajara 13.JPG|[[Templo Expiatorio del Santísimo Sacramento]], [[Guadalajara, Jalisco]], Mexico: 1897–1972
File:Saks Fifth Avenue and St Patrick's aerial (cropped1).jpg|[[St. Patrick's Cathedral (Manhattan)|St. Patrick's Cathedral]], New York, USA: 1858–1879
</gallery>

===South America===
<gallery heights="150" mode="packed">
File:Basilica de Nuestra Senora de Lujan.jpg|[[Basilica of Our Lady of Luján]], [[Buenos Aires Province]], Argentina: 1890–1935
File:Fachada Basílica del Salvador.JPG|[[Basilica del Salvador]], [[Santiago]], Chile: 1913–1954
File:Capilla cristo-pobre.jpg|Capilla Cristo Pobre, [[Jauja]], Peru: 1884–1925
File:Catedral de Petrópolis.jpg|[[Cathedral of Petrópolis|Cathedral of São Pedro de Alcântara]], [[Petrópolis]], Brazil: 1884–1925
File:IlhaFiscal 03.jpg|[[Ilha Fiscal|Castle of Fiscal Island]], [[Rio de Janeiro]], Brazil: 1881–1889
File:Santuario de Las Lajas, Ipiales, Colombia, 2015-07-21, DD 21-23 HDR.jpg|[[Las Lajas Sanctuary]], [[Ipiales]], [[Colombia]]: 1916–1949
File:Catedral de Pedra Canela 001.jpeg|[[Church of Our Lady of Lourdes (Canela)|Church of Our Lady of Lourdes]], [[Canela, Rio Grande do Sul|Canela]], Brazil: 1953–1987
File:Iglesia de las Carmelitas - Parroquia del Prado - Montevideo Uruguay.jpg|[[Virgen del Carmen y Santa Teresita, Montevideo|Church of the Virgin of Mount Carmel and St. Thérèse of Lisieux]], [[Montevideo]], Uruguay: 1929–1954
File:Casa Quinta de Soneira, Montevideo 20.jpg|[[Soneira Castle]], [[Montevideo]], Uruguay: 1860–1871
</gallery>

===Australia and New Zealand===
<gallery heights="150" mode="packed">
File:SydneyUniversity_MainBuilding_Panorama.jpg|[[University of Sydney Quadrangle]], Sydney, Australia: 1854–1862
File:St_Patrick's_Cathedral_-_Gothic_Revival_Style.jpg|[[St Patrick's Cathedral, Melbourne]], Australia: 1858–1939
File:Christ ChurchCathedral1 gobeirne.jpg|[[ChristChurch Cathedral]], New Zealand: 1864–1904
File:Auckland High Court Building - 4523179010.jpg|[[Auckland High Court]], New Zealand: 1865–1867
File:StMarysSydneyCathedral1.jpg|[[St Mary's Cathedral, Sydney]], Australia: 1868–1928
File:St. Paul's Cathedral Tower.jpg|[[St Paul's Cathedral, Melbourne]], Australia: 1880–1891
File:Otago Boys High School.jpg|[[Otago Boys' High School]], New Zealand: 1882–1885 
File:Bendigo Cathedral.jpg|[[Sacred Heart Cathedral, Bendigo]], Australia: 1895–1901
File:Blossom at University of Otago 2.jpg|[[University of Otago Registry Building]], New Zealand: 1878–1879
</gallery>

===Asia===
<gallery heights="150" mode="packed">
File:Church of Saviour in Baku.jpg|[[Church of the Saviour, Baku|Church of the Saviour]], [[Baku]], Azerbaijan: 1896–1899
File:Puducherry Sacred Heart Cathedral 2.JPG|[[Basilica of the Sacred Heart of Jesus, Pondicherry|Basilica of the Sacred Heart of Jesus]], [[Puducherry (city)|Pondicherry]], India: 1902–1907
File:Katedral Jakarta 2016 Bennylin 01.jpg|[[Jakarta Cathedral]], Indonesia: 1891–1901
File:Basilica of San Sebastian, Manila, Philippines - panoramio.jpg|[[San Sebastian Church (Manila)|Basílica Menor de San Sebastián]], [[Manila]], Philippines: 1888–1891
File:Guangzhou Shishi Shengxin Dajiaotang 2012.11.15 11-17-52.jpg|[[Sacred Heart Cathedral (Guangzhou)|Sacred Heart Cathedral]], [[Guangzhou]], China: 1861–1888
File:Government College University, Lahore - Clock tower and main building.jpg|[[Government College University, Lahore]], Pakistan: 1877 
</gallery>

===Decorative arts===
<gallery heights="150" mode="packed">
File:Sèvres Porcelain Manufactory - Cup and Saucer - 1998.412 - Cleveland Museum of Art.tif|Cup and saucer, produced by the [[Manufacture nationale de Sèvres|Sèvres porcelain factory]] and decorated by [[Pierre Huard]], 1827, porcelain, [[Cleveland Museum of Art]], [[Cleveland]], [[Ohio]], US
File:Clock, French, circa 1835-1840, gilt and patinated bronze, inherited from Maurice Quentin Bauchart, 1911, inv. 17741, Museum of Decorative Arts, Paris.jpg|Clock, unknown French maker, {{circa|1835–1840}}, gilt and patinated bronze, [[Musée des Arts décoratifs, Paris|Museum of Decorative Arts]], Paris
File:Vase (vase gothique Fragonard) (one of a pair) MET DP169251.jpg|Pair of vases, by [[Alexandre-Évariste Fragonard]] and the Sèvres porcelain factory, manufactured in 1832, decorated in 1844, hard-paste porcelain, [[Metropolitan Museum of Art]], New York City
File:Desk MET DT257587.jpg|Desk, by [[Kimbel and Cabus]], {{circa|1877}}, oak, nickel-plated brass and iron hardware, Metropolitan Museum of Art
</gallery>

== See also ==

===Sub-varieties of the Gothic Revival style===
{{Div col|colwidth=16em|content=
* [[Carpenter Gothic]]
* [[Collegiate Gothic]]
* [[Dissenting Gothic]]
* [[National Romantic Style]]
* [[Neo-Manueline]]
* [[Ruskinian Gothic]]
* [[Scottish Baronial]]
* [[Tudor Revival]]
* [[Black-and-white Revival architecture|Black-and-White Revival]]
}}

=== Locale ===
{{Div col|colwidth=16em|content=
* [[Gothic Revival architecture in Canada|Canada]]
* [[Gothic Revival architecture in Poland|Poland]]
* [[List of Gothic Revival architecture]]
}}

==Footnotes==
{{notelist}}

==References==
{{Reflist}}

==Sources==
{{refbegin|30em|indent=yes}}
* {{cite book
 | last1 = Aldrich | first1 = Megan Brewster | last2 = Atterbury | first2 = Paul
 | title = A.W.N. Pugin: Master of Gothic Revival
 | url = https://books.google.com/books?id=RfBpd-OZ7e4C&pg=PA372
 | year = 1995
 | location = New Haven and London
 | publisher = Yale University Press
 | isbn = 978-0-300-06656-2
 }}
* {{cite book
 | last = Aldrich | first = Megan
 | title = Gothic Revival
 | url = https://books.google.com/books?id=tfNPAAAAMAAJ&q=Gothic+Revival
 | year = 2005
 | publisher = Phaidon Press
 | location  = London
 | isbn = 978-0-714-83631-7
 }}
* {{cite book
 | last = Aldrich | first = Megan |author-mask=1
 | title = Thomas Rickman and the Victorians
 | series = Studies in Victorian Architecture and Design
 | volume = 7
 | editor1 = Megan Aldrich | editor2= Alexandrina Buchanan
 | url = https://www.worldcat.org/oclc/1088560920
 | year = 2019
 | publisher = [[The Victorian Society]]
 | location  = London
 | isbn = 978-0-901-65756-5
 | oclc = 1088560920
 }}
* {{cite book
 | last = Anstruther | first = Ian
 | year = 1963
 | title = The Knight and the Umbrella: An Account of the Eglinton Tournament – 1839
 | publisher = Geoffrey Bles
 | location  = London
 | oclc = 249701828
 | url = https://www.worldcat.org/oclc/249701828
 }}
* {{cite book
 | last1 = Atterbury | first1 = Paul | last2 = Wainwright | first2 = Clive
 | title = Pugin: A Gothic Passion
 | year = 1994
 | location = New Haven and London
 | publisher = Yale University Press
 | isbn = 978-0-300-06656-2
 | oclc = 750811794
 }}
* {{cite book
 | last = Bartlett | first = Robert
 | author-link=Robert Bartlett (historian)
 | year = 2001
 | title =  Medieval Panorama
 | location = Los Angeles
 | publisher = Getty Publications
 | isbn = 978-0-892-36642-2
 | url = https://books.google.com/books?id=DjI5t3DE00wC&pg=PA15 
 }}
* {{cite book
 | last = Beard | first = Geoffrey
 | year = 1985
 | title = The National Trust Book of English Furniture
 | publisher = Viking
 | location  = London
 | isbn = 978-0-670-80141-1
 | oclc = 924269530
 | url = https://www.worldcat.org/oclc/924269530
 }}
* {{cite book
 | last = Bradley | first = Simon 
 | year = 2007
 | title = St Pancras Station
 | publisher = Profile Books
 | location  = London
 | isbn = 978-1-861-97951-3
 }}
*{{Cite thesis
 |type=M.Arch
 |title=Late Completion of Cologne and St-Vitus Cathedral
 |first=Tomas |last=Brichta
 |publisher=University of Edinburgh
 |date=2014
 |hdl=1842/9814
}}
* {{Cite book
| last1= Brooks | first1= Alan | last2= Pevsner| first2= Nikolaus| author-link2 = Nikolaus Pevsner
| series= [[Pevsner Architectural Guides|The Buildings of England]]
| title= Worcestershire
| url= https://books.google.com/books?id=3sG9568rRJsC
| year= 2007
| publisher= Yale University Press
| isbn= 978-0-300-11298-6
}}
* {{cite book
 | last = Buggeln | first = Gretchen Townsend
 | year = 2003
 | title =  Temples of Grace: The Material Transformation of Connecticut's Churches
 | location = Hanover, US
 | publisher = New England University Publications
 | isbn = 978-1-584-65322-6
}}
* {{cite book
|last=Chadenet | first=Sylvie
|title=French Furniture: From Louis XIII to Art Deco
| url = https://www.worldcat.org/title/44969660?oclcNum=44969660
|date=2001
|location= Boston, US
|publisher=Little, Brown and Company
|isbn=978-0-821-22683-4
}}
* {{cite book
 | last1 = Chalcraft | first1 = Anna | last2 = Viscardi | first2 = Judith
 | title = Strawberry Hill: Horace Walpole's Gothic Castle
 | url = https://www.worldcat.org/oclc/255611525
 | year = 2007
 | location = London
 | publisher = Frances Lincoln Ltd
 | isbn = 978-0-711-22687-6
 | oclc = 255611525
}}
* {{cite book
 | last = Charlesworth | first = Michael
 | year = 2002
 | title = The Gothic Revival 1720–1870 – Literary Sources and Documents: Blood and Ghosts
 | volume = 1 
 | location = Robertsbridge, East Sussex
 | publisher = Helm Information
 | isbn = 978-1-873-40367-9
 | oclc = 491489502
 | url = https://www.worldcat.org/oclc/491489502
 | ref = {{sfnRef|Charlesworth|2002a}}
}}
* {{cite book
 | last = Charlesworth | first = Michael |author-mask=1
 | year = 2002
 | title = The Gothic Revival 1720–1870 – Literary Sources and Documents: Gothic and National Architecture
 | volume = 3 
 | location = Robertsbridge, East Sussex
 | publisher = Helm Information
 | isbn = 978-1-873-40367-9
 | oclc = 491489502
 | url = https://www.worldcat.org/oclc/491489502
 | ref = {{sfnRef|Charlesworth|2002c}}
}}
* {{cite book
 |last1 = Cherry |first1 = Bridget |last2 = Pevsner |first2 = Nikolaus |author-link2 = Nikolaus Pevsner
 |year = 2002
 |title = London 4: North
 |series = [[Pevsner Architectural Guides|The Buildings of England]]
 |url = https://archive.org/details/london4north0000unse
 |publisher = [[Yale University Press]]
 |location = New Haven, US and London
 |isbn = 9780300096538
 |url-access = registration
}}
* {{cite book
 | last = Clark | first = Anthony E.
 | title = China Gothic: The Bishop of Beijing and His Cathedral
 | url = https://books.google.com/books?id=HFbHDwAAQBAJ&q=best+gothic+revival+architecture
 | year = 2019
 | publisher = University of Washington Press
 | location  = Washington, US
 | isbn = 978-0-295-74668-5
 }}
* {{cite book
 | last = Clark | first = Kenneth |author-link=Kenneth Clark
 | year = 1983
 | title = The Gothic Revival: An Essay in the History of Taste
 | location = London
 | publisher = John Murray
 | isbn = 978-0-719-53102-6
 | url = https://books.google.com/books?id=iBtGQwAACAAJ
 }}
* {{cite book
 | last = Cooke | first = Robert | author-link = Robert Cooke (Conservative politician)
 | year = 1987
 | title = The Palace of Westminster
 | location = London
 | publisher = Burton Skira
 | isbn = 978-2-882-49014-8
 | url = https://archive.org/details/palaceofwestmins00sirr
}}
* {{cite journal
 |last=Cox |first=Oliver 
|date=8 November 2012 
|title=An Oxford College and the Eighteenth-Century Gothic Revival|url=https://www.oxoniensia.org/volumes/2012/cox.pdf|journal=Oxoniensia |volume= |issue= |pages=117–136 |doi= |access-date=20 August 2023
}}
* {{cite book
 | last = Crook | first = J. Mordaunt | author-link = J. Mordaunt Crook
 | title = William Burges and the High Victorian Dream
 | url = https://books.google.com/books?id=W1JruwAACAAJ
 | year = 2013
 | publisher = Frances Lincoln
 | location = London
 | isbn = 978-0-7112-3349-2
 }}
* {{cite book
 | last1 = Cruft | first1 = Kitty | last2 = Dunbar | first2 = John | last3 = Fawcett | first3 = Richard
 | year = 2006
 | title = Borders
 | series = The Buildings of Scotland
 | publisher = [[Yale University Press]]
 | location = New Haven, US and London
 | isbn = 978-0-300-10702-9
 | oclc = 1062076262 | url = https://www.worldcat.org/oclc/1062076262
 }}
* {{cite book
 | last = Curl | first = James Stevens |author-link=James Stevens Curl
 | year = 1990
 | title = Victorian Architecture
 | location = Newton Abbot, Devon and London
 | publisher = David & Charles
 | isbn =  978-0-715-39144-0
 }}
* {{cite book
 | last1 = Dixon | first1 = Roger | last2 = Muthesius | first2 = Stefan
 | title = Victorian Architecture
 | url = https://books.google.com/books?id=yVcs9z4-rzUC
 | year = 1993
 | location = London
 | publisher = Thames and Hudson
 | isbn = 978-0-195-20048-5
 }}
* {{cite book
 | last = Eastlake | first = Charles Locke | author-link = Charles Eastlake
 | title = A History Of The Gothic Revival
 | year = 2012
 | publisher = [[Cambridge University Press]]
 | location=Cambridge
 | isbn = 978-1-108-05191-0
 }}
* {{cite book
 | last = Ferriday | first = Peter
 | title = Victorian Architecture
 | url = https://books.google.com/books?id=RmNTAAAAMAAJ
 | year = 1963
 | location = London
 | publisher = Jonathan Cape
 | oclc = 270335
 }}
* {{cite book
 | last = Finnerty | first = Anne
 | title = The Architecture of East Australia: An Architectural History in 432 Individual Presentations
 | url = https://books.google.com/books?id=FUItnsGv-doC&q=best+gothic+revival+buildings+in+Australia&pg=PA38
 | year = 2001
 | publisher = Edition Axel Menges
 | location  = Felbach, Germany
 | isbn = 978-3-930-69890-5
 }}
*{{cite DCB
 |last=Fulton|first= Gordon W.
 |title= Ewart, David
 |year=2005
 |volume=Vol.15
 |url=http://www.biographi.ca/en/bio/ewart_david_15E.html
}}
* {{cite book
 | last = Furneaux Jordan | first = Robert  | author-link = Robert Furneaux Jordan
 | title = A Concise History of Western Architecture
 | year = 1979
 | location = London
 | publisher = Thames & Hudson
 | oclc = 757298161
 }}
* {{cite book
 | last = Germann | first = Georg
 | title = Gothic Revival in Europe and Britain: Sources, Influences and Ideas
 | year = 1972
 | location = London
 | publisher = Lund Humphries
 | isbn = 978-0-853-31343-4
 }}
* {{cite book
 | last = Gifford | first = John
 | year = 1989
 | title = William Adam 1689–1748: A Life and Times of Scotland's Universal Architect
 | url = https://www.worldcat.org/oclc/600401309
 | publisher = Mainstream Publishing
 | location  = Edinburgh
 | isbn = 978-1-851-58296-9
 | oclc = 600401309
 }}
* {{cite book
 | last1 = Glendenning | first1 = Miles | last2 = MacInnes | first2 = Ranald | last3 = MacKechnie | first3 = Aonghus
 | year = 2002
 | title = A History of Scottish Architecture: from the Renaissance to the Present Day 
 | location = Edinburgh
 | publisher = Edinburgh University Press
 | isbn = 978-0-748-60741-9
 }}
* {{cite book
 | last = Goodhart-Rendel | first = Harry Stuart | author-link=Harry Stuart Goodhart-Rendel
 | year = 1989
 | orig-year= 1953
 | title =  English Architecture Since The Regency: An Interpretation
 | location = London
 | publisher = Century
 | isbn = 978-0-712-61869-4
 | oclc = 243386485
 | url = https://www.worldcat.org/oclc/243386485
}}
* {{cite book 
|last=Graur|first=Neaga
|title=Stiluri în arta decorativă
|url=https://www.worldcat.org/title/560131438
|year=1970
|publisher=Cerces
|location=Bucharest
|language=ro
|oclc=560131438
}}
* {{cite book
|last=Harries|first=Susie|author-link=Susie Harries
|title=Nikolaus Pevsner The Life
|url=https://search.worldcat.org/title/747917346
|year=2011
|location=London
|publisher=[[Chatto & Windus]]
|isbn=978-0-701-16839-1
}}
* {{cite book
 | last = Hill | first = Rosemary
 | year = 2007
 | title =  God's Architect: Pugin and the Building of Romantic Britain
 | location = London
 | publisher = Allen Lane
 | isbn = 978-0-713-99499-5
 }}
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 |url=https://books.google.com/books?id=pS8wAAAAYAAJ&pg=PA5
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* {{cite book
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{{refend}}

==Further reading==
* {{cite book|first1=Christian|last1=Amalvi|title=Le Goût du moyen âge|location=Paris|publisher=Plon|year=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.
* {{cite book|last1=Hunter-Stiebel|first1=Penelope|title=Of Knights and Spires: Gothic Revival in France and Germany|year=1989|ISBN=0-614-14120-6}}
* [[Thomas Graham Jackson|Jackson, Sir Thomas G.]], ''Modern Gothic Architecture'' (1873), ''Byzantine and Romanesque Architecture'' (1913), and the three-volume ''Gothic Architecture in France, England and Italy'' (1901).
* {{cite book|first1=Phoebe B |last1=Stanton|title=Pugin|location=New York|publisher=Viking Press|year=1972|orig-year=1971|ISBN=0-670-58216-6}}
* {{cite book|author-link=John Summerson|last1=Summerson|first1=Sir John|year=1948|title=Viollet-le-Duc and the rational point of view|series=Heavenly Mansions and other essays on Architecture}}

==External links==
{{Commons}}
* [https://web.archive.org/web/20060907161140/http://www.sainte-clotilde.com/Basilique/basilique.html Basilique Sainte-Clotilde, Paris] (archived copy)
* [https://web.archive.org/web/20070422093100/http://www.collectionscanada.ca/structures/parliament/ Canada by Design: Parliament Hill, Ottawa] at Library and Archives Canada (archived copy)
* [https://web.archive.org/web/20160303191335/http://www.achome.co.uk/architecture/gothic.htm Books, Research and Information] (archived copy)
* [https://web.archive.org/web/20080925214640/http://proyectodocumenta.org/tag/neogotico/ Proyecto Documenta's entries for neo-Gothic elements at the Valparaíso's churches] (archived copy)

{{Gothic}}
{{Gothic architecture}}
{{Archhistory}}
{{Revivals}}
{{Romanticism}}
{{Architecture in the United States}}
{{Authority control}}

{{DEFAULTSORT:Gothic Revival Architecture}}
[[Category:Gothic Revival architecture| ]]
[[Category:American architectural styles]]
[[Category:Architectural styles]]
[[Category:British architectural styles]]
[[Category:Revival architectural styles]]
[[Category:Victorian architectural styles]]