View allAll Photos Tagged NeoGothic
Except for the original buildings constructed in the Federalist style, the architecture of the Yale campus is pretty camp, but it's a beautifully executed form of camp.
The former Rectory (Vicarage) in Church Road, Polegate, East Sussex, England.
Note the neo-gothic front door and flanking hall windows - also the Victorian, wrought iron bell-pull (to the right of the door). Also note the original stained, leaded small hall windows flanking the entrance door!
This is now a private residence; the Anglican Church having sold off many tens of thousands of 19th century vicarages, rectories and parsonages. These were built in times when priests had enormous families (9 children was about average, and 12 children was not uncommon; sundry spinster aunts also tended to live as members of the extended family) AND live-in servants, none of which applies nowadays.
Saint Erasmus
From Wikipedia:
According to the traditional account, he was disemboweled; his abdomen slit open and his intestines wound around a windlass.
Besides his patronage of mariners, Erasmus is invoked against colic in children, abdominal pain, intestinal ailments and diseases, cramps and the pain of women in labour, as well as cattle pests.
The Duomo di Milano is famous for its white neo-Gothic facade and hundreds of sculptures adorning its exterior. It is also possible to ascend to the roof of Milan cathedral for close-up views of some of the sculptures and decorative elements.
With the discovery of gold and the almost simultaneous granting of independence from New South Wales in 1851, the new State of Victoria rapidly assumed an importance unimaginable only a few years previously.
A very distinguished architect and devout Catholic, William Wilkinson Wardell, arrived in Melbourne and in 1858 designed the cathedral. Building operations were begun the same year. The nave was completed within ten years.
The building was ready for consecration in 1897.
The plans were for a magnificent Cathedral of immense proportions. It was, in fact, greater than anything attempted by English and Irish Catholics in their home countries and it is also the largest church to be built anywhere in the world, as a single entity, entirely within the 19th century. In the U.S.A., only the Cathedral of New York, it too dedicated to St Patrick and commenced at much the same time but brought to completion only in this century, comes close to rivalling it.
It was the architect's intention that the Cathedral should be erected in two stages: the nave and its aisles as soon as possible, with work then proceeding on the realisation of the remainder of the building. Consequently, and in keeping with medieval tradition, there is a change in style between the two clearly defined construction projects. The nave is in the architectural style known as "Early English", whilst the rest of the building is in that known as "Geometric Decorated" of some two centuries later in the development of Gothic style architecture.
The construction of St Patrick's Cathedral in Melbourne was to occupy Wardell, by now also appointed inspector General of Public Works for the Government of Victoria, with the right of private practice, for the rest of his life. He was present at its consecration in 1897 and was working on plans for areas of the building not quite completed when he died two years later.
In the twenty years after the consecration of 1897, the Cathedral's interior decoration was completed, basically according to Wardell's intentions, but it is doubtful if he would have been entirely satisfied with the stencil patterned walls of the sanctuary and chapels, done to the designs of William Tappin.
Daniel Mannix succeeded as Archbishop of Melbourne in May, 1917. One of his first acts was to remove late Victorian and Edwardian era monuments which had been installed. He who also had the interior painted in a grey colour, eliminating the typical Wardell buff- pink coloured interior. Archbishop Mannix's greatest contribution was the completion of St Patrick's by the addition of the spires and other elements in the late 1930s.
To celebrate the centenary of its consecration in 1997, the Cathedral was closed throughout 1994 to be upgraded. Nothing was added to the main building. Rather, it underwent significant conservation work, with funds contributed by the federal and Victorian governments, corporate and philanthropic donors and the community of Melbourne.
Photo by Stephen Cox.
This doesn't seem to function, unless it is very darkly tinted and can only be seen through from the inside. I think it is there only as to serve as reference to the arched windows of the cathedral.
From my recent road-trip to Pittsburgh, Pennsylvania. Taken from the Boulevard of the Allies south of PPG Place. I tried taking some pictures in the square in the middle of PPG Place but was stopped by a security guard warning me that I could only keep my camera at eye-level -- no pointing towards the sky or tops of the buildings. Apparently for "security" reasons. Hooray for post-9/11 paranoia.
PPG Place is one of the major distinctive and recognizable features of the Downtown Pittsburgh, Pennsylvania skyline. Although it is most well known for its tower, it is actually a complex of six buildings, all of matching glass design. The complex is named for its main tenant, PPG Industries, one of the world's largest glass manufacturers, which initiated the project in 1979 as its world headquarters.
PPG Place, designed in the neogothic style by influential American architect Philip Johnson and his partner John Burgee, was completed in 1984 and its main tower has 40 floors. It rises 635 feet (194 m) above Downtown Pittsburgh. Johnson designed the building to serve as the modern "plaything" for the University of Pittsburgh's Cathedral of Learning. Victoria Tower, the square tower at the end of the Palace of Westminster in London, was another precedent for the design.
(Cribbed from Wikipedia)
This building cost $125,000 when it was dedicated in 1928. Its architecture is an uncomplicated neo-Gothic. It remains a Lutheran congregation to this day. The church's architect was George D. Mason.
The impressive Neo gothic church of St Joseph in Eupen was built between 1855-69 by architects V.Statz and G.A.Blanchard of Cologne.
The cathedral like interior is lit by stained glass of several dates; but only one window from the original glazing from the 1860s remains, most having been lost or replaced at various times, in the following decades.
The choir windows were replaced by the Oidtmann workshop in 1904-5, followed by the large transept windows in 1915-16 (in spite of the War!).
Several new windows were installed in the nave in the 1950s and 60s with stylized figures and bright colours typical of their time.
Eupen itself is effectively German in language and history and is currently the capital of the 'East Cantons' (the German speaking region of Belgium), a role it has retained since being annexed by Belgium in the aftermath of both World Wars. (the locals of course never had much say in all this!)
El cementiri de Montornès de Segarra està situat als afores del nucli , dalt d'un turó.
Les despeses de l'edificació, que començà l'any 1896, foren sufragades per Joan Balcells i Cortada. L'obra va ser construïda segons els plànols de l'arquitecte Torné de Cervera.
Josep Balcells, nat al poble, va marxar a l'Havana on es va fer ric i a la seva tornada va ser diputat per Tarragona. Per millorar el poble va pagar la construcció de les escoles i d'un cementiri nou, regalant a cada família del poble una renglera de nínxols.
De planta quadrada, té una torre a cada angle i una per sobre de la porta d'accés. La teulada que envolta el perímetre del recinte, protegint els seus nínxols, és a doble vessant amb rajola i teules. El recinte es construeix segons els paràmetres eclèctics de l'època, basats amb la barreja d'estils. Així doncs, ens trobem que juntament amb la portalada d'entrada gòtica, emmarcada amb un arc apuntat que flanqueja l'entrada a l'interior del recinte, les torres estan cobertes a la manera de les pagodes orientals (doble coberta amb teules i rajola). Es tracta d'una obra d'estil modernista de finals del segle XIX (1895-1896).
A l'interior del recinte, un camí ens portarà fins a la capella del cementiri, partint l'espai interior simètricament. A la façana exterior de la capella també s'evidencia un clar eclecticisme; la portalada, és d'estil neoclàssic amb elements neogòtics; aquests últims els trobem al timpà. L'interior de la capella és d'estil neogòtic amb arcs apuntats, volta de creueria i la clau decorada amb motius vegetals. Als baixos de la capella hi ha el panteó familiar de la família Balcells.
Respecte a l'ús dels materials dins de l'apartat decoratiu, podem observar la utilització de nous materials com poden ser el ferro (columnes interiors), la forja (porta d'entrada al recinte) o el vidre (porta d'entrada a la capella), entre d'altres.
ENG
The cemetery of Montornès de Segarra is located outside the nucleus, a hill.
The expenses of the building, which began in 1896, were borne by Joan Balcells and Cortada. The work was built according to the plans of the architect Torné de Cervera.
Josep Balcells, born in the town, went to Havana where he became rich and on his return he was deputy for Tarragona. To improve the town paid the construction of the schools and a new cemetery, giving each family of the town a row of niches.
Of square plant, it has a tower in each angle and one above the access door. The roof that surrounds the perimeter of the enclosure, protecting its niches, is double shed with brick and tiles. The enclosure is constructed according to the eclectic parameters of the time, based on the mixture of styles. Thus, we find that along with the gothic entrance door, framed with a pointed arch that flanks the entrance to the interior of the enclosure, the towers are covered in the mode of Oriental pagodas (double covered with tiles and brick). It is a work of modernist style of the late nineteenth century (1895/96).
Inside the enclosure, a path will take us to the cemetery chapel, starting from the inner space symmetrically. In the outer facade of the chapel a clear eclecticism is also evident; the cover, is of neoclassic style with neogothic elements; The latter are in the tympanum. The interior of the chapel is neogothic in style with pointed arches, vaulted vaults and a key decorated with vegetable motifs. In the lower part of the chapel is the family pantheon of the Balcells family.
Regarding the use of materials within the decorative section, we can observe the use of new materials such as iron (inner columns), forge (entrance door to the enclosure) or glass (entrance door to the chapel), between others.
ESP
El cementerio de Montornès de Segarra está ubicado fuera del núcleo, una colina.
Los gastos de la edificación, que comenzó en 1896, fueron sufragadas por Joan Balcells y Cortada. La obra fue construida según los planos del arquitecto Torné de Cervera.
Josep Balcells, nacido en el pueblo, se fue a la Habana donde se hizo rico y a su retorno fue diputado por Tarragona. Para mejorar el pueblo pagó la construcción de las escuelas y de un cementerio nuevo, regalando a cada familia del pueblo una hilera de nichos.
De planta cuadrada, tiene una torre en cada ángulo y una por encima de la puerta de acceso. El tejado que rodea el perímetro del recinto, protegiendo sus nichos, es doble vertiente con ladrillo y tejas. El recinto se construye según los parámetros eclécticos de la época, basados con la mezcla de estilos. Así pues, nos encontramos que junto con la portada de entrada gótica, enmarcada con un arco apuntado que flanquea la entrada al interior del recinto, las torres están cubiertas al modo de las pagodas orientales (doble cubierta con tejas y ladrillo ). Se trata de una obra de estilo modernista de finales del siglo XIX (1895/96).
En el interior del recinto, un camino nos llevará hasta la capilla del cementerio, partiendo del espacio interior simétricamente. En la fachada exterior de la capilla también se evidencia un claro eclecticismo; la portada, es de estilo neoclásico con elementos neogóticos; estos últimos se encuentran en el tímpano. El interior de la capilla es de estilo neogótico con arcos apuntados, bóveda de crucería y la clave decorada con motivos vegetales. En los bajos de la capilla está el panteón familiar de la familia Balcells.
Respecto al uso de los materiales dentro del apartado decorativo, podemos observar la utilización de nuevos materiales como pueden ser el hierro (columnas interiores), la forja (puerta de entrada al recinto) o el vidrio (puerta de entrada a la capilla), entre otros.
Mausoleum build by Adhémar d'Oultremont in neo-Gothical style for his wife Clementine at Houtaing (Hainaut - Belgium). Constructed in 1894.
Mausoleum construit par Adhémar D'Oultremont en style néo-gothique pour son femme Clémentine à Houtaing (Hainaut- Belgique). Construit en 1894.
Mausoleum gebouwd door Adhémar d'Oultremont voor z'n vrouw Clémentin in neo-gotische stijl. Gebouwd in 1894.
La Parroquia de San Miguel Arcángel: the original Parish Church was built in the late 17th century in the conventional and modest Franciscan style of the time. The dramatic, neogothic facade seen today was done in 1880 by the stone mason and self-taught architect Zeferino Gutiérrez who is said to have been inspired by images of European cathedrals. The pink sandstone turrets can be seen from points all over town. It is one of the most photographed churches in Mexico.
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Oldest part from the 13th century, current neogothic structure from the 19th century. Compare August 2, 2011.
From www.ba-walking-tours.com:.
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“This very beautiful romanic-neogothic church (ca. 1915), which though very large looks dwarfed by the neighbouring Kavanagh and Plaza Hotel Buildings, is considered to be an architectural jewel. Designed by french architects, it is composed of 5 towers (3 in the front) with beautiful white marble sculptures in its front. Inside it you can find beautiful wood carvings made by Flemish artisans (from Brugge, Belgium) and 2 world renowned organs which master organ players from around the world come to play and listen to (one is a 4800 pipe Mutin-Cavaillé-Coll from France and the other a Merklin from Belgium, similar, but slightly smaller than the ones in Notre-Dame Cathedral and Sacre Coeur in Paris). Four meters below the base of the belfry is the cript of Mrs. Mercedes Castellanos de Anchorena who had this whole massive church built for her (as a cript for her family) between 1907 and 1915: She was inmensely rich and we will later see her family palace-like mansion, just across the Plaza San Martin park. It sets the tone for understanding the mindset of the families that shaped Buenos Aires.“.
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buenosaires.muvhaus.com/en/2009/08/16/basilica-del-santis...
From www.ba-walking-tours.com:.
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“This very beautiful romanic-neogothic church (ca. 1915), which though very large looks dwarfed by the neighbouring Kavanagh and Plaza Hotel Buildings, is considered to be an architectural jewel. Designed by french architects, it is composed of 5 towers (3 in the front) with beautiful white marble sculptures in its front. Inside it you can find beautiful wood carvings made by Flemish artisans (from Brugge, Belgium) and 2 world renowned organs which master organ players from around the world come to play and listen to (one is a 4800 pipe Mutin-Cavaillé-Coll from France and the other a Merklin from Belgium, similar, but slightly smaller than the ones in Notre-Dame Cathedral and Sacre Coeur in Paris). Four meters below the base of the belfry is the cript of Mrs. Mercedes Castellanos de Anchorena who had this whole massive church built for her (as a cript for her family) between 1907 and 1915: She was inmensely rich and we will later see her family palace-like mansion, just across the Plaza San Martin park. It sets the tone for understanding the mindset of the families that shaped Buenos Aires.“.
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buenosaires.muvhaus.com/en/2009/08/16/basilica-del-santis...
The Medical Arts Building in San Antonio in the U.S. State of Texas is a neogothic building near the Alamo and part of the Alamo Plaza Historic District. Completed in 1926, it housed doctors' offices and a 50-bed hospital.
After a succession of owners and the move of the medical facilities elsewhere, it was converted to office space in 1976. In 1984 the building was remodeled into a hotel; the conversion gutted and completely rebuilt the interior of the structure, but kept the exterior elements intact. It now is the 177-room Emily Morgan Hotel under the DoubleTree brand of Hilton. It is recognized as a "Historic Hotel of America" by the National Trust for Historic Preservation.
en.wikipedia.org/wiki/Medical_Arts_Building_(San_Antonio)
en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...
The building opened in 1913 as the world's tallest building. It remained the tallest building until the construction of the Chrysler Building, also in New York City, in 1930. Designed in the neo-Gothic style by architect Cass Gilbert.
Collegium Novum (na karcie pocztowej z roku ok. 1960) – główny budynek Uniwersytetu Jagiellońskiego w Krakowie. Znajduje się przy ul. Gołębiej 24, przy Plantach.
Pocztówka - Biuro Wydawbnicze "Ruch"
Fot. T. Chrzanowski
La Rectoria és un difici d'estil neogòtic construït el 1902 a l'Arboç. Consta de planta baixa, pis i golfes. El portal de mig punt és flanquejat per dos finestrals amb interessants reixes de ferro forjat. El pis principal és centrat per un balcó de pedra. Les finestres són coronades amb un trencaigües de tipus conopial. Les golfes s'obren amb una galeria d'arcs rebaixats sostinguts per columnes poligonals. Al capdemunt hi ha un ràfec pronunciat amb l'embigat vist.
Saint-Stephen Cathedral Metz, France, is a Rayonnant Gothic edifice built with the local yellow Jaumont limestone. Like in French Gothic architecture, the building is compact, with slight projection of the transepts and subsidiary chapels. However, it displays singular, distinctive characteristics in both its ground plan and architecture compared to most of the other cathedrals. Because of topography of Moselle valley in Metz, the common west-east axis of the ground plan could not be applied and the church is oriented north-northeast. Moreover, unlike the French and German Gothic cathedrals having three portals surmounted by a rose window and two large towers, Saint-Stephen of Metz has a single porch at its western facade. One enters laterally in the edifice by another portal placed at the south-western side of the narthex, declining the usual alignment of the entrance with the choir. The nave is supported by flying buttresses and culminates at 41.41 metres high, making one of the highest naves in the world. The height of the nave is contrasted by the relatively low height of the aisles with 14.3 metres high, reinforcing the sensation of tallness of the nave. This feature permitted the architects to create large, tall expanses of stained glass. Through its history, Saint-Stephen Cathedral was subjected to architectural and ornamental modifications with successive additions of Neoclassical and Neogothic elements.
The edification of Saint-Stephen of Metz took place on an Ancient site from the 5th century. The construction of the Gothic cathedral began in 1220 within the walls of an Ottonian basilica dating from the 10th century. The integration into the cathedral's ground plan of a Gothic chapel from the 12th century at the western end resulted in the absence of a main western portal; the south-western porch of the cathedral being the entrance of the former chapel. The work was completed around 1520 and the new cathedral was consecrated on 11 April 1552. In 1755, French architect Jacques-François Blondel was awarded by the Royal Academy of Architecture to built a Neoclassical portal at the West end of the cathedral. He disengaged the cathedral's facade by razing an adjacent cloister and three attached churches and achieved the westwork in 1764. In 1877, the Saint-Stephen of Metz was heavily damaged after a conflagration due to fireworks. After this incident, it was decided the refurbishment of the cathedral and its adornments within a Neogothic style. The western facade was completely rebuilt between 1898 and 1903; the Blondel's portal was demolished and a new Neogothic portal was added.
Zentralbibliothek Zürich (Zürich Central Library) (left), at Zähringerplatz 6 in the Rathaus quarter, is the main library of both the city and the University of Zürich. The library, founded in 1914 by a merger of the former cantonal and city libraries, is housed in the Predigerkloster, the former blackfriars abbey. The library's origins date back to Stiftsbibliothek of the Grossmünster abbey, first attested in 1259. Much of the abbey's library was lost in the Swiss Reformation, especially in a book burning on September 14, 1525, reducing it to a total inventory of 470 volumes. Starting in 1532, Konrad Pellikan began rebuilding the Stiftsbibliothek behind the purchase of Zwingli's private library. The city library, established in 1634, only offered access to Zürich citizens. As a result, the University established its own library in 1835, built off the Stiftsbibliothek, which had grown to 3,500 volumes, and the Gymnasiumsbibliothek. Today the Zentralbibliothek houses some 5.1 million items, among these 3.9 printed volumes, 124,000 manuscripts, 243,000 maps and 560,000 microfiches.
Predigerkirche (Preacher's Church) (right), located in Zähringerplatz, was originally built by the Dominican Order starting in 1231. Towerless at the time, the early Baroque building was extended in 1330 by a Gothic choir. In the wake of the Reformation during the 16th century, the church building bcame a wine press. The neogothic tower was added somin 1900.
This neogothic church was built in the early 1900′s and always had a steady group of local people from all kinds visiting the masses. Until several decades later, when at a rainy Christmass mass the water came in through the roof. The placed was closed and at one time there were plans of demolishing it.
The church was saved from demolition, but the organ hasn’t played since that rainy Christmass mass…
Please visit www.preciousdecay.com for more pictures
We always found it magical. Even though what we see today is essentially an unfinished 18th-century reconstruction, its atmosphere perfectly evokes a ruined medieval convent.
At the end of the 14th century, under the initiative of D. Nuno Álvares Pereira, the initial monumental Carmo Convent was built, rivalling the Lisbon Cathedral in importance within the city.
After the 1755 earthquake and a subsequent fire, the destruction it suffered was considerable. The reconstruction in neo-Gothic style was interrupted, and the nave pillars and arches remain incomplete. Some elements of the original building still remain, although fragmented.
In the 19th century, the romantic taste for ruins and, even more so, for the neo-Gothic aesthetic dictated that the building be kept as it is today.
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Sempre o achámos mágico. Mesmo sabendo que o que vemos hoje é, essencialmente, uma reconstrução inacabada do Século XVIII, o seu ambiente consegue evocar na perfeição um convento em ruínas da Idade Média.
Em finais do Século XIV, e sob a iniciativa do Condestável D. Nuno Álvares Pereira, foi construído o inicial e monumental Convento do Carmo, rivalizando com a Sé de Lisboa na sua importância para a cidade.
Após o terramoto de 1755 e o incêndio que lhe sucedeu, a destruição que sofreu foi considerável. A reconstrução, em estilo neogótico, foi interrompida e dela restam os pilares e os arcos das naves. Ainda subsistem alguns elementos do edifício original, embora fragmentados.
No Século XIX, o gosto romântico por ruínas e, ainda mais, por esta estética neogótica, ditou que o edifício fosse mantido como estava até hoje.
Vancouver's Catholic cathedral, built in 1900. It was designed in the French Gothic style by architects Julian and Williams.
We always found it magical. Even though what we see today is essentially an unfinished 18th-century reconstruction, its atmosphere perfectly evokes a ruined medieval convent.
At the end of the 14th century, under the initiative of D. Nuno Álvares Pereira, the initial monumental Carmo Convent was built, rivalling the Lisbon Cathedral in importance within the city.
After the 1755 earthquake and a subsequent fire, the destruction it suffered was considerable. The reconstruction in neo-Gothic style was interrupted, and the nave pillars and arches remain incomplete. Some elements of the original building still remain, although fragmented.
In the 19th century, the romantic taste for ruins and, even more so, for the neo-Gothic aesthetic dictated that the building be kept as it is today.
*
Sempre o achámos mágico. Mesmo sabendo que o que vemos hoje é, essencialmente, uma reconstrução inacabada do Século XVIII, o seu ambiente consegue evocar na perfeição um convento em ruínas da Idade Média.
Em finais do Século XIV, e sob a iniciativa do Condestável D. Nuno Álvares Pereira, foi construído o inicial e monumental Convento do Carmo, rivalizando com a Sé de Lisboa na sua importância para a cidade.
Após o terramoto de 1755 e o incêndio que lhe sucedeu, a destruição que sofreu foi considerável. A reconstrução, em estilo neogótico, foi interrompida e dela restam os pilares e os arcos das naves. Ainda subsistem alguns elementos do edifício original, embora fragmentados.
No Século XIX, o gosto romântico por ruínas e, ainda mais, por esta estética neogótica, ditou que o edifício fosse mantido como estava até hoje.
St Maurice Church
The Parish Church of St. Maurice ranks among the most precious buildings of the late Gothic style in Moravia. The three-naved structure has a cross vaulting (also known as a groin vault) dating from the middle of the 14th century. A more advanced net vault may be seen in the presbytery.
Two asymmetric prismatic towers were built on the western facade. In the western part of the church there is a unique double spiral staircase.
The real gem is the late Gothic sculpture of the 15th century, Christ on the Mount of Olives, located in the interior.
On the northern wall of the church, there is the Renaissance burial chapel of the Edelmann family. After a fire in 1709, the interior was redecorated in the Baroque style; Loretta Chapel and All Souls Chapel were added. Painters Jan Kryštof Handke, Karel Josef Haringer and Karel Moravec and sculptors Filip Sattler, Jan Sturmer and Jiří Antonín Heinz took part in the Baroque adaptations of the interior.
Maurice‘s organ, the largest organ in Central Europe and the eighth largest in Europe, were made by Master Michael Engler in 1745. It was decorated by the sculptor Philip Sattler and the wood-carver Jan Jiří Huckh. The original Baroque instrument with three keyboards underwent a renovation in the sixties of the 20th century.At that time a modern instrument was added, with 5 keyboards. Now the organ has 135 registers and 10,400 pipes.
In the mid 19th century, the church was equipped with new historicist furniture and underwent re-gothization in the years 1869-1908. The main altar is decorated with a Neo-Gothic retable from the mid 19th century.
Photo by Stephen Cox.
is a replica of the arched window design of the cathedral. The small hints at past architectural designs on this modern building make it an example of reflective nostalgia.
Greycliffe was built out of sandstone, with cedar joinery and fine quality plasterwork, for one of the daughters of William Charles Wentworth. Fanny Wentworth married John Reeve, a wealthy migrant from England. Reeve purchased land at Shark Beach from Wentworth and commissioned the architect John Hilly to build Greycliffe, which was completed circa 1852. A sealed entrance road, originally Greycliffe's carriage dive, leads to the house.
Reeve never lived in Greycliffe, preferring to travel to England with his wife. Instead, the house was leased to a string of prominent Sydney citizens, including, initially, Colonel John George Nathaniel Gibbes (1787-1873), MLC, the then Collector of Customs for NSW.
Basílica Notre-Dame.
Se halla en el corazón del Viejo Montreal, importante obra de la arquitectura neogótica. Destaca la riqueza de su decoración interior y su luz.
Basilique Notre-Dame.
Importante oeuvre de l'architecture neogotica se trouve dans le coeur de Vieux Montréal. Il souligne la richesse sa décoration intérieure et de sa lumière.
Notre-Dame Basilica.
One is in the heart of Old Montreal, important work of the neogothic architecture. It emphasizes the wealth of his inner decoration and its light.
John Rylands Library is part of the University of Manchester and has several historical artifacts, such as the oldest known fragment of a New Testament in the world and one of Gutenbergs original printed bibles. The lighting is caused by sunlight reflecting off open windows on an office building opposite.
Obernai: L'église Saints Pierre et Paul.