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Neo-Gothic Architecture and
Restoration of Historic Buildings in
Central Europe
Friedrich schmidt and His school

1ózsEr stse
Researclr Institute filr Art Historr,;
Hurrgarian Ac:rdcrrr1. of Sciences,
Budltpest

n the mid nineteenth century the revived Gothic style Thun-Hohenstein, the minister of education and a Czech
faced suspicion and even opposition in central Europe. nationalist, brought to Vienna the first architects well
Officialdom in Vienna, the cosmopolitan capital of a versed in the Gothic style, Joseph Kranner and llermann
multiethnic empire, firmly rejected the sryle, which it asso- von Bergmann, from Prague.a The next architect to be
ciated with the idea of pan-Germanism. The magnificent invited, however, stood in his qualities far above Count
Votivkirche (tleinrich Ferstel, 185ó-1879), with its religious Thun-Hohenstein's earlier protégés:in 1859, at the minis-
and monumental connotations, was a notable exception.l ter's request, Friedrich Schmidt arrived in Vienna to play
Vienna built almost no apartrnent houses in the Neo-Gothic the role of catalyst in both Neo-Gothic construction and
style, though some appeared in the streets of Pest. Yet in something intimately intertwined with it, the restoration of
Pest, Imre Henszlmann's (1813-1888) Gothic design for the monuments.
headquarters of the Hungarian Academy was rejected after By the time of his invitation, Friedrich Schmidt
much discussion in 18ó1 on the pretext that Gotlric was an (1825-1891)5 had spent fifteen formative years at the
ecclesiastic and Germanic style; Hungary, still smarting from restoration of Cologne Cathedral, üe great national proj-
its defeat at the hands of (Gerrnan-speaking) Austrians in the ect of nineteenth-century Germany.6 Working his way from
war ofindependence of 1848-1849, would not tolerate pub- simple stonemason to foreman, he had mastered the craft
lic buildings in üat style. Not even l{enszlmann's interna- and acquired an intimate knowledge of Gothic-style archi-
tional prestige (he had been in France in the 1850s tectufe. In the meantime he had begun to design buildings,
investigating medieval architecture and was close to Viollet- and in 1854 he won the third prize at the Vienna
de-Duc's circle) could change üat.2 In towns only churches Votivkirche competition. In 1857 he left the Cologne work-
were constnrcted in the "pointed style." shop after he was not awarded the newly vacant position of
Besides churches, a small number of castellated man- controller; in fact, he left the Rhineland altogetheq where
sions and villas in the Austrian provinces and the Hungar- another former member of the Cologne Cathedral build-
ian countryside repfesented a special brand of the Gothic ing lodge, Vincenz Statz (1818-1898), had already estab-
Revival wiüin the Habsburg Empire.3 Several of them went lished himself as the leading church architect.7 Count
up in the Czech lands, where a group of aristocrats Thun-Hohenstein's original invitation took him first to a
embraced Neo-Goüic as a local national style in the face of professorship at the Brera Academy in Milan. Exposure to
what they considered the insipid Zopf andclassicism of offr- Italian medieval architecture during his two years' sojourn
cial Vienna. It is no accident that in the 1850s Count Leo broadened Schmidt's horizons, a welcome experience for a
ílan nurtufed on tlre doctrirraire tenets of the Gernran
Gothic Rer,-ival. Yet he never broke his persorral ancl ilrtel-
lectual corrtrict u-ith the leaclirrg spirit of the Cologne Cathe-
clral proj ect, Arrgr-rst Rei chensperger.
Reiclrerrsperger (1808-1895), though a lalwer by train-
irrg, plal.ed a crucial role on the Gerrnarr and international
scene rlf Neo-C]othic arclritecttrral theorw ar.cl ideologv.8
His importance es the mait-r concluit bet-"r.een the (]cnnan
and Errglish Gotlric Rcvivals carr lrardly be overrated.
Augrrstrrs Welbv Nortlrnrore Pueir]t insistence rlrr sti,,listic
prrriq, ancl the ar.rthentic use of materials basicallr- influenced
1-ris Nso, (}eoree (}ilbert Scott, Reicl-rensperger'.s
l.ielr.s.
fr-iend and the most prolific-if irrtellecnrallr,,tl-re leest chal-
lerrgine-English Gothicist, had obvious allure filr the
sober ar-rcl diligerrt Gerrnan theorist. As ec]itor of the Ktjlner
Dolnblatt ancl autlror of tlre books Die christlicll-gerunlnisc}:e
Batt.ktutst utd ihr Verhalmis zut,Gegettwntt (184_5) ttncl Fin-
gerzeige auJ tlem Gebiete der kitchlithen Kunst (185+),
Reicherrsperger, in his turll, exertec1 corrsiderable inl]uence
on, irrdeed pror.ecl senrina] for, the ftlrtlrer der-eloplnent of
Neo-(]othic arclritecture ancl particularlr. Neo-Gothic
church arclritectrrre in central Europe. IIis ideal ll.as "clas-
sical," that is, tl-rirteerrth- ancl fourteenth-centulT G<lthic
architecture prrre alrd unaclultcrated, archaeologically pre-
cise, and lacking decor;rtion indepenclent of structure, 1ct
alorre picturesque additions.
Figure 1 Friedrich Schmidt, Weinhaus parlsh church, Vienna,
As could be expectecl, Schrniclt r.l,as given a cold recep-
1 883-1 B89
tion in \rienna. Qrrite soon, thorrgl-r, the Vier-rnese begarr to
appreciate his talent lrnd dash, irr-rd he quicklv assimilated to
tl-r e nelr. errvironment. Besicles Coutrt Tlrun -Hclherrsteirr\

Stlpport, Schrnidt secured tlrat of anotlrer irnporttrnt pirtron, church of the Brigittenau district (í867-1873), all üe details
Cardinal Joseph Othnrar r.on Rausclrer, archbishop of are made of bricks. Later the architechrre of the fagades
\Iienna. Carclirral Rauscher discovered in him, a Catholic tended to be simpJified, even reduced to the barest minimum,
convert, not orrly an experierrced building restorer but also asin the case of the parish church of Weinhaus (1883-1889)
a conrpetent church builder, His expertise rr.as r.r.elcotne irr (Figure 1). The Kaiserstrasse church, with its towerless
fast-grou,ing Vienna, uüere, at tlre carclinal's recommenda- íagade, deviated from the basic types represented by three
tion, the 18_58 provirrcial council set the size of each parislr other churches: Saint Othmar's parish church (18óó-l8ó9),
at 10,000 s<luls.9 As :r result, in the course of his life, Schrniclt whose single tower soafs high on a hexagonal plan on the
clesiened over 100 ecclesiastical structures, a figure srrrpasse.l principal íaEade; the twin-towered Lazaristenkirche in the
only by George Gilbert Scott'.s eigantic outprrt. Kreuzgasse (1875-1878) (Figure 2), and the Weinhaus parish
The basic plrttern of l-ris churches confilrn.ed u.ith lvhat church, where the tower of the principal fagade is flanked by
Reichensperger had 1eid dorm: a n.ave and tu-o aisles, three two smaller stair towers. Complying with practical and litur-
polygorral apses, vaultec'l ceiling, one or t\\.o toí]ers ol1 the gical requirements, Schmidt usually formed wide, unified
principal faqzrile, arrd ]ristorically authentic Gothic details, interior spaces that could accommodate a large number of
Even this sclrerne offered some deqree of vtrriery and trutorr- people and ensure unobstructed views. An early solution is
6111r, and Schrnidt's lllost inrportani \lierrna churches shorr. the Lazaristenkirche in the Kaiserstrasse, a hall church with
this. Interestirrgt,, al1 of thern have brick f-agacles, renirriscent smooth, ryJindrical colurnns. The parish church of Weinhaus
of north C]ernranGotlric architecture. But while the Lazaris- also represents the hall-church type, the subdued and sim-
tenkirche in the Kaiserstrasse (18ó0-18ó2) displavs stone plified architecture of its interior fur,ther enhancing the unity
coping courses, in some other churches, such as the parislr of the space. The parish church of the Brigittenau district,

FRlEDRlcH ScHMlDT AND HlS ScHooL 171

 most closely associated with his name, is Vienna's City Hall,
or Rathaus (1868-1883) (Figure 3). He won the comrnission
in a competition, in defiance of Vierrnese expectations of a
Neo-Renaissance structure. The tradition of medieval
Gothic city halls in the German-speaking world certainly
worked in favor of Schmidt's design---even if the architecture
of the Rathaus turned out to be French-caüedral Gothic,
the arcades along the length ofthe ground floor hark back
the Doges'Palace, and the tall cenral tower evokes Flemish
city halls. Schmidt confessed to Reichensperger that he knew
a purely Germanic-style building would never had been
accepted in Vienna.ll The immense size of his Gothic
Rathaus was unparalleled, not only in the Habsburg Empire
but in the whole continent of Europe. Only England had
produced comparable structufes, whose horizontalism duly
found echo in Schmidt's Rathaus,
Schmidt devoted as much attention to restoring old
buildings as to designing new ones, though tlre border
between these two acr,ivities was blurred. IIe was no üeo-
rist and never put his views in writing, but it is obvious from
his work that for him one was the extension of the ot]rer. In
his restoration projects, especially initially, he strove for an
ideal medieval form even if it involved destruction and addi-
tion. His quest for stylistic purity fell into line with Viollet-
le-Duc's theories and in fact with mainstream European
Figure 2 Friedrich Schmidt, Lazaristenkirche in the Kreuzgasse, thinking. The Central-Commission zur Erforschung und
Vienna, 1 875-1 878 Erhaltung der Baudenlcnale, or Central Commission for the
Research and Maintenance of Flistoric Buildings (launched
in 1853),12 üe organization in charge of the historic build-
though basilical, contains narrow and insignificant aisles on ings of the Habsburg Empire, provided the institutional
either side of the broad nave, Often Schmidt organically inte- framervork for his efforts. Yet his position as chief architecg
grated the sacristy and other subsidiary rooms into üe body ot Dombaurn eister, oíYienna's Stephansdom established his
of his churches, a nineteenth-century feafure in contrast to státus as the leading auüority in the field. lIe was awarded
the random additional character of comparable medieval the prestigeous job in 1862 at Cardinal Rauscher's recom-
structures. mendation. Wishing to emulate the Cologne Cathedral
Schmidt's most original and innovative work was the restoration project, Schmidt first prepared designs for üe
Maria vom Siege church in Fiinfhaus district (1867-í87 5), Stephansdom's missing north tower on the model of the old
built on an octagonal plan. Its soafing, un-Gothic dome and south tower. The bold but controversial plan, which would
twin towers set at a 45-degree angle go back to models like have changed Vienna's skyline forever, was rejected by the
tlre Baroque Peterskirche in Vienna, though Schmidt pre- city council; unlike Prussian Germany, Habsburg Austria did
ferred to refer to the Romanesque St. Gereonskirche in not need a national syrnbol of that kind. Curiously, Schmidt
Cologne as tlre source of inspiration. Toward the end of his also proposed to enhance the Romanesque character of the
life, he indeed experienced an increasing attachment to principal {aqade, but this idea also had to be abandoned.
Romanesque; "he would like to be young again so that he Over the next decades he focused mostly on renewing the
could devote all his energies to the Romanesque style," an stones of the church, though he also purged some of the
incredulous Reichensperger wrote, quoting Schmidt.10 original furnishings. Only at the restoration of
Some of Schmidt's lateq mostly unexecuted, designs in this K]osterneuburg church near Vienna, where he rebuilt the
style attest to this unexpected change of preference. medieval structure thoroughly and even completed the two
The range of secular buildings a Gothicist could design large, "unfinished" spires in a pure Goüic style (1874-1891),
was limited. Schmidt's chief work in this field, and the one could he rea7ize his youthfi:l ambitions.

172 JsAH / 61:2. JUNE 2oo2

Figure 3 Friedrich Schmidt, Rathaus, Vienna, 1868-1883

fu Schmidt's reputation gre.w, coínmissions to restore

historic buildings arrived from remote cornefs of the far-
flrrng empire, cutting across national ambitions and sensi-
tivities. Yet he rejected most of them and recommended his
pupils instead, reserving for himself the adüser's role. Even
when he accepted a commission, he put one of his former
students in charge of the actual building operation.
The case of Pécs Cathedral in southern Hungary offers
insight into the political implications of a major restoration
project (Figure 4)." A. a consequence of the 18ó7 com-
promise, the dualistic Austro-Hungarian Monarchy
replaced "Austria," tlre more monolithic Habsburg Empire,
In Hungary where historic buildings assumed the role of
monuments to be revived and restored as a testament to the
nation's past glory the Central Commission had lost its
authority as a result of the Hungarians' urge to dissociate
themselves from Vienna. Yet such was Schmidt's prestige
that they repeatedly invited him to festore their historic
buildings, or at least to offer adüce, Schmidt accepted only
one Hungarian commission, at the insistance of Nándor Figure 4 Pécs Cathedra|, restoration by Friedrich Schmidt, 1882-1891

FRlEDRlcH scHMlDT AND Hls ScHooL 173

Dulánszlqr, bishop of Pécs. First he suggested a moderate ln Schmidt's schoo| everyone couId, and had to, Iearn some-
restoration ofthe old cathedral along with the conservation thing, because teaching was individua|. The master went from
of its Gothic and Baroque details. Yet Bishop Dulánszlqz board to board and |ectured on the subject the student was
wished the restoration of the "original" Romanesque working on. Thus students saw and learned how to draw and
appearance in its full splendor in a drive to mark the thou- render, how to construct, how to produce plans for execution,
sandth anniversary of the Magyars' land taking. Except for how to choose forms with regard to material and craítsman-
the lower section of the towers and the"crypt, the old build- ship, etc. On these occasions aIl the other students surrounded
ing went and a new one emerged in an impeccable the master and watched him with the greatest attention. Each
Romanesque style (1882-1891). Work was conducted by work, each sentence contained a good lesson, a good clue.18
Schmidt's former student August Kirstein; Hungary's emi- ,

nent artists produced mural paintings and sculptures. Even This practical training and direct contact between teacher
if such destructive intervention did not characterize and student anticipated üe master schools of the twentieth
Schmidt's restorations otherwise, especially not in his later century. Another sy.rnptomatic detail deserves attention. As
career, Pécs undoubtedly offered him the golden opportu- opposed to the smooth and refined drawing style tradition-
nity to give shape to his Romanesque dreams. ally typical of academies, Schmidt and his students preferred
The large and sumptuous Karlstein Q{arl§tejn)la Cas- stronger contour lines and shading coupled with the metic-
tle in Bohemia fared somewhat better. The national mon- ulous rendering of the stone details and masonry.
ument of the Czechs was to be restored by Schmidt, who Study trips constituted an integral part oft}re training.
exhibited his design in Prague in 1870. Construction started Every year Schmidt took his students to a region of the
only in 1887 and was conducted by Schmidt's Czech pupil country, or even abroad, to study and record historic (most
Josef Mocker.ls }Ie renewed the walls and the stone carv- usually medieval) buildings. These excursions, where
ings, refurbished the interior, and gave the castle a pic- Schmidt shared the hardships of traveling with his students,
tufesque appearánce by topping it with tall roofs. Initially did not lack aspects of camaraderie. The very íact that stu-
intended to sefve again as a royal residence, by its comple- dents of different ethnic, religious, and cultural back-
tion in 1901 attitudes had changed and it was opened to the grounds from all corners of the Habsburg Empire (and later
public as a relic ofCzech art and architecture. the Austro-Hungrian Monarchy) congregated in Schmidt's
His buildings and restoration projects alone would architectural school to share ideas and ideals marked a rare
have made Schmidt a highly influential figure on the archi- moment of peace and understanding in the turbulent intel-
tectural scene in central Europe. Yet his activities as a lectual history of the central European region, which was
teacher at the Academy of Fine Arts, which had brought to pass with the advent of national fervor as the century
him to Vienna in the first place, eventually ensured him an drew to its close. In 1862 Schmidt's students founded a
eminent role in the region. Initially he was given the cold school society, which in 18ó4 assumed the nostalgic-
shoulder by his fellow professors Eduard van der Nüll, sounding name Wiener Bauhütte, or Vienna Building
August Sicard von Sicardsburg, and Karl Roesner, repre- Lodge.19 Schmidt was chosen as honorary chairman. The
sentatives of an earlier, Romantic trend in architecture. The society published the students' measured drawings and
energetic and amiable Schmidt soon overcame their reserve views made on the study trips. These albums, also called
and became a leading spirit of the institution.ló In his per- Wiener Babütte, were among the most varied and fascinat-
son we can see an architect nurtured on nonacademic tra- ing works of their kind (Figure 5).
ditions, who set about establishing new ideals within the Friedrich Schmidt was a charismatic and eloquent lec-
walls of an august and very academic institution. tureq but he never published his views in print. His talks,
In 1867 he initiated the reform of the academy, which which embraced a wide variety of subjects, transcended the
led to the founding of a new departrnent, tjrle Architek- scope of a narrow-minded Gothicist and betrayed an open
tan,schule, or School of Architecture. At Schmidt's recom- and independent spirit. The Organ fiir christlicbe Kunst, a
mendation, Theophil llansen was appointed to be the other journal of the Cologne circle, recorded in 18ó5 alone the
professor at üe departrnent, to represent classicism, Gothic's following lectures delivered by him at the Wiener Bauhütte:
counterpole.l7 Yet Schmidt's teaching methods differed rad- the construction methods of different ages, including
ically from Hansen's and, for that matter, from those of his (hypothetically) antiquity,2o and three lectures on the
predecessors; instead ofdry and lengthy lectures loaded with Renaissance in Italy, France, and Germany.2l Answering
large quantities of data, he preferred a personal approach. tlre question whether he would recommend the Italian or
Max Fleischer, a former student, recalled: the French variant of the Renaissance to contempofary

174 JsAH / 61i2, JUNE 2oo2

 Figure 5 Valdahunyad
Cast|e, view by
:.,, .
A|exander Wielemans,
186f , írom Wiener
Bauhütte

í'.
;t.
;,,-::(i,
, r''', ,

-, -,
,,-
i.

:'i
Bulnlbmtn iír _E'r!illll!lrr!ül/|
Tluni Slitp
,ni. f,Litiirnit i,l bil! \Ln!, l! Fi,n lsíl
qnh!],lilun9i.}l!t!,ril!r§,!mlil rl. .lir|,i..!j-t:h]tr.

architects (the German Renaissance was not even consid- number of schmidt's ex-students followed in their teacher's
efed at the time, though that would soon change), Schmidt footsteps: they restored historic monrrments and designed
favored t}re Italian Renaissance as being based ''on the Neo-Gothic or Neo-Romanesque buildings. It was clear
healthy principles of art"! even to his contemporaries that Schmidt had created a school
His unpretentious manners, robust personality, huge of disciples,23 and this can be confirmed from our present-
workload, and diligence made Schmidt popular, even day perspective. On the following pages we try to examine
beloved, in Vienrra, In his speech, habits, and mentality he some buildings, architects, and ideas that in our view repfe-
had totally assimilated to his adoptive city. He was elected sent the continuation and, in some cases, the consummation
member of the Upper }Iouse of the Austrian Parliament, of Schmidt's achievemenrc,2a
and was created baron by the emperor. Yet the dilemma of
Just as churches formed the bulk of Schmidt's work,
the German versus the Viennese, the anonyrnous medieval several of his pupils also primarily designed ecclesiastical
master versus the nineteenth-century architect and profes- buildings. Vienna and its suburbs offered numerous oppor-
sor, haunted him until the end of his life. He chose as the tunities.25 These churches often followed patterns laid
heraldic device of his baronial crest the mason's mark he had down by Schmidt, although minor-and in due course,
used in Cologne, but the epitaph on his grave is perhaps even maj or-deviations occurred. Richard Jo r dan (I8 47 -t922),
more telling: "Saxa loquuntur. Hier ruhet in Gott Friedrich who as a young man had been his teacher's foreman at the
Schmidt, ein deutscher Steinmetz" (Stones speak, }Iere rests construction ofthe Brigittenau parish church, proved to be
in God Friedrich Schmidt, a German stonemason). in later life a most diligent and prolific church architect.26
His Redemptoristenkirche in the Hernals district
Schmidt was the most prolific and influential Gothic Revival (188ó-1889), a red-brickNeo-Gothic building in line with
architect and building restofer ofAustria, and probably of Schmidt's churches, differs from t}rem, too: its tower rises at
the whole German-speaking world. AtVienna's Academy of the lateral fagade, and the subsidiary spaces on both sides
Fine Arts a great nrrmber of young men were taught by him,22 of its chancel cause the plan to be an oblong.27 The íagaáe
many of whom collaborated at his building or restoration of Jordan's parish church in Gersthof district (1887-1891)
projects. Not all of them, though, can be called Schmidt's displays a similar arrangement, with a further pair of squat
pupils in the real sense of the word. Several látef turned to towers on the outside of each stair tower (Figure ó). Its plain
nonmedieval styles, or sank into insignificance. Yet a great interior represents the hall-church type, again familiar from

FRlEDRlcH scHlvllDT AND Hls scHooL 175

Figure 6 Richard Jordan, Gersthof parsh church, Vienna, 1887-']891 Figure 7 Josef Mocker, Saint Procopius's Church, Prague,
1 899_1 903

Schmidt's Weinhaus parish church. Josef Mockerb Saint church (189.+-1898), at least il-t its extericlr. The irltcrior
Procopius's Church (1899-1903) is the Pragrre counterpart corrrprises a broad nave and \rery nArrow aisles tl-rat com-
of tlre Gersthof and the Weinhaus parish churches:28 it has nrunicate u,ith the nave only through lou. passages, nrakinq
the stair towers and also the secondary tower-like projec- the latter virtually the only viable space ll.ithir-r the churclr,
tions on either side of the single main tower; the texture of This arrangement especially srrited nineteenth-centun-
t}re brick walls is coarser, howeveq and the noticeable pres- Iiturgical requirements, uüich called for rooms capable of
ence of the four tuírets accompánying the main spire sug- accomnrodating the congregation as a rl,hole.
gests native Czech heritage (Figure 7). Georg Hauberisserl Sairrt Parrl's Church (1892-190ó)
Josef Mocker's other Prague church, Saint Ludmilla's in Munich, though tll.irr-tou,erec], deviated frcirn the \-ierr-
(1883-1893), followed the twin-towered type (Figure 8). nese models apparently in an ef'fort to cater to Bar-arian
The meticulous details of the fagade, such as the portal As opposed to Schrnidt's sinewr,- red-brick churches,
tastes.29
evoking French-cathedral Gothic, or the rose window it abounds in "classical" Gotlric details and picturesqrre vol-
enclosed in a square, reminiscent of Italian medieval urnes, irrcluding a tall crossirrg to$.er complete rr.ith stone
churches, betray an architect who was primarily a restorer can,ings. The Hungarian In-rre Steindl, bl, contrast,
of historic buildings. Even if such exercises in archaeologi- remained faithful to his youthful ideals t-l-ren clesignir-rg Saint
cal historicism did not characterize the bulk of what Elizabeth's Church in Budapest at an equally late clate
Schmidt's school produced, the basilical interior of Saint (1893-1901) (Figures 9, 10).]0 He received this comnlission
Ludmilla's, with its transepts, does recall Schmidt's Saint rather late in lifé; though Budapest u-irs expanding firster at
Othmar's parish church. The Brigittenau parish church the time than Viennir, rernarkably f61l. parislr churches u,ere
found its follower in Alexander Wtelemans (1843-1911) and corrstructed there. steindl turned to $.hat he had seen in
Theodor Reutter's (í837-1902) Neu-Ottakring parish Vienna during his student days, namely, Sclrnridt's original

176 JsAH / 61;2. JUNE 2oo2

Figure 8 Josef Mocker, Saínt Ludmi||a's Church, Prague, 1883-1893

Lazaristenkirche (Kreuzgasse) design of 18 64,3 1 including

Figure 9 lmre Steindl, Saint E izabeth's Church, Budapest
1 893-1 901, exterior
the huge niche that fills its front, butwhich was not realized
in Schmidt's building. The interior repeats the rylindrical
columns of the other Lazaristenkirche (Kaiserstrasse),
including the smaller engaged columns attached to their
tops. The twin-towered hall-church type evokes in tlris par-
ticular instance the medieval saint Elizabeth's church of
Marburg, Germany, the most prominent church consecrated
to the Hungarian-born saint.
Friedrich Schmidt's interestin the Romanesque, referred
to above, coincided with a general reappraisal and reinter-
pretation of tlris "other" Germanic sryle in the last decades of
the century. Richard Jordan's church built for the Johan-
nesstein Institute near Reichenberg (Liberec) in Bohemia
(1885-1889) is Neo-Romanesque and comprises a tall octag-
onal crossing tower behind the pair of towers on its principal
fagade, This arrangement recalls Speyer Cathedral, a mas-
terpiece of German Romanesque architecture, whose
restoration had been sponsored by the Habsbrríg emperor
and other Catholic rulers probably as a modest re§ponse to
Figure 10 ]mre Steindl, Salnt E izabeth's Church, Budapest,
the Prussian-led Cologne Cathedral restoration project.32 In 1893-'l 901, nterior

FRlEDRlcH scHMlDT AND Hls scHooL 177

keeping with the Romanesque style, theJohannesstein Insti-
tute church was to have been stone-clad; only financial
restrictions forced the builders to use brick. Contemporary
critics did not fail to point out, in corurection with the church,
üat Romanesque "[had] reached its cLimax in Germany and
bears üe wTong name, just like the Gothic style."]]
In the field of monumental public architecture,
Schmidt's pupils, like their teacheq excelled in city-hall
building. This traditional building type provided the most
opportunities to adherents of the Gothic and, lateq üe Ger-
man Renaissance styles in countries where medieval str-uc-
tures of this kind were not rrncommon.
None of Schmidt's pupils built more city halls than
Georg Hauberisser (18+í-í927), a Graz-born architect of
Rhineland ancestly.34 ITe won the competition for Munich's
new city hall in 18óó, even before Schmidt started his
Rathaus in Vierrna. He settled down in tlre Bavarian capital
to become in due course the "Altrrreister süddeutscher
Gotik," the "great master of south German Gothic." IIe
built or remodeled city halls all over tlre region, such as those
in Kauíbeuren, Wiesbaden, IJlm, Landshut, and Landsberg.
The picturesque fagade of his Munich cityhall (1867-1874),
with its stronglyprojecting balcoryz, crenellated parapet, and
cfow-stepped central gable, deüates from Schmidt's more
austere compositions.3s Apparendy, Üe Bavarians tolerated
north German Gothic rigor less than did their Viennese Figure 11 Franz Neumann, city ha , Reichenberg, 1888-]892
brethren, which is clear also if we recall Hauberisser's other
major work in Munich, Saint Paul's Church. On his Munich
city hall the paneling, decoration, and furniture of the state vicled the l-ristorical arrcl sr,*listic basis. 'lhe nev, u.ing of the
rooms matched the medievalizing architecture of the fagade. Austriar-r National Bank (1873) pror.es that ntlt er-en
At the turn ofthe century }Iauberisser restored and remod- sclrmiclt u.as able to resist the lure of tlre rrovel fbrrrrs. Thc
eled the old city hall adjacent to t}re new one, adding to it a Reiclrenberg cornpetition rvas, incidentlll1,, a hornc cvcnt
tall tower reminiscent of the towefs of medieval Flemish city for Schnidt'.s pupils, all three of tlre invited arclritects 1rtrr,-
halls and that of Schmidt's Vienna Rathaus. irrg been his stuclerrts in \Iienn,a, arrcl Sclrnridt hinrself being
The national element played a key role in the history of a trrenlber of thc jrrn of three. (Later otlrer architects u-ere
üe city hall of Reichenberg, "the most German town" of also allorved to participate, but tlris proved to be l mere filr-
old Bohemia (Figure 11),]ó In 1887 a limited competition nlali6,.) The first prize v-ent to Franz Neumann, -nr,lrrl 1r:rcl

was announced and three architects were inüted to submit collaboratecl closely ri.ith Schrrridt in desigrring the tu,o
plans: Franz Neumann ftom Vienna, Georg lTauberisser large Arkacler-rhárrser (1880-1883) flanking tlre \-ienrra
from Munich, and Hans Grisebach (1848-1904) from Ratharrs. His Reichenberg cit\,, hall (1t3itít-l892), rlitlr its
Berlin. Their selection-and the fact that no invitation went svtrrrrretrical massing, its tall cerrtral tcru,er and n1.o smaller
to Prague-clearly indicated the city's cultural affiliations. sicle tolvers, its pierced central section u,ith large t,pelritrgs,
The terms of the competition stipulated that the building is a paraphrase of Schmidt's Ratlraus transcribed into tl-re
should be in the German Neo-Renaissance mode, which lirrrguage of the Gerrrran Neo-Renaissatlce and restrictcd
had temporarily replaced Gothic as the German national onto a rnuclr n,.lrrowcr plot, Even üe plan o\lres soncthing
sryle. After the Franco-Prussian War and üe creation of the to Schrnidt: Neumann put the council chanrber in the rear
German Empire, the revived German Renaissance was to v.ing just irs Schrrridt lracl c]orre in his Ratlraus,
be used as a tool to counter the steady advance of the Frieclrich Schnridt's school u.itnessec1 the sulnmátion of
French Beaux-Arts trend.37 Wilhelm Lübke's pioneering its anrbition ancl the transcendence of its limitatiorrs iri tl-re
book Geschichte der Renaissance in Deutschland (1873) pro- Hrrngarian Parliarnerrt House (Figure 12). \\hat corrld never

178 JsAH / 61:2, JUNE 20o2

Figure 12 mre Stelnd, Parliament |1ouse, Budapest, 1885-1904

be achiel,ecl 1lr- Schnriclt, or ?uly othef of his ex-snrclents, \|its Also, Steindl knewwell Schmidt's plan for the lJpper House
lrchieved by Schnriclt's llrrnglrian pr4lil, Inrre Steirrcll, ."r,I-ro of the Viennese parliament, which had calied for a large
gained the ultirnate conlrrrissiorr, the clesign for a legislature's dome; he himself had designed something similar for the
horrre. Steirrcll (18]9-1902), lly tlrat tinre a distinguislred pro- 1872 Berlin Reichstag competition.{ Yet the picturesque pil-
fessor at tlre 'léchr.icll Llrrii.ersi§- irr Buda;lest, lred fougüt ing of pavilions, towefs, and dome, the übrating multitude
irarc1 to realize his (]otlric tlrcellrs. thorrglr íbr strnrc titlrc of turrets, finials, and carved ornaments breakthe borderline
onh, the rcstoration tlflristoric llrrildirrgs provided an orrtlet between historicism and free composition, even if the archi-
fbr his lrnrbitirlns.rs \\'hen the cclrrrpetitirln íbr the Hungar- tectural details are coírect French and Italian Gothic. steindl
ian P,lir]ilmerlt H()use $.11s ?ulnoltllcecl in 1882 lrrcl 1re sub- managed to turn an architectural dream into reality, which
rrritted a Neo-Gothic dcsigrr, a pclrvcrful p.;rtfotl eqrrallv neady coincided with the splendid image that Hrrngary a
eager to have a Got}ric Parliarncrrt }Itluse on tl-re blrrk of tlre nation with limited sovereignty, wanted to project of herself.
Danube steppecl in to srtpport lrirrl. 'I'lris l.as Corrnt Gl,uia Churches and city halls best reflect Schmidt's legacy to
Andráss1,, tlre ex-prime rnitlister tlf Hurrgarl, itlrcl tlre ex- his pupils. Schmidt himself hardly ventured into the field
1breigrr rrrirristcr of tl.e .\rrstro-I{rrnsarian Monarclrt, u,lro of domestic architecture; he preferred monumental forms
took tlre IIorrses of Parliitrncrrt in Lontlon as his irleal.r') and considered Neo-Gothic inappropriate for ordinary
T'hough Neo-(iothic, tlre Buclapest Parlian-rent }Ior.rse dwelling houses. The situation did not change when he
(188_5-190-+) turnecl ()ut to be cluitc difíerent frorrr the Nerr. introduced the German Neo-Renaissance in Vienna. Some
Palace of \\tstrrrinstcr, l1nd iliso \\,ent bevond alrvthinli of his pupils, for example, Josef Mocker and Frigyes
Frieclriclr Sclrnridt 1rat] brrilt. Undoubtedl1, it or.r.cs lnuch tc) Schulek, shared Schmidt's attitudes and never designed
Sclrnriclt: tltc arcades altlng tlre ertensir.e Darrrrbe 1lrqlrde apartrnent houses or commercial buildings. Most other ex-
reclll tlrtlsc of tlre Rlrtlrlrrrs; the dolne lncl tlre t\\.o accompi- students, though, did not take such an aristocratic stance.
nl'inp1 tolvers clearly gcl back to the }Iaria r.om Sicq,e c}rurclr. Hans Grisebach, Georg }Iauberisser, Friedrich König,

FRlEDRICH ScHMlDT AND HlS scHooL 179

Franz Neumann, August Prokop, and Leopold Theyer built important restoration projects discussed below will perhaps
apartment houses in great numbers, as the streets ofvienna, illustrate the exceptional scope of their work.
Graz, Bri.inn @rno), Munich, and Berlin attest. Most of these One of Prague's slrrnbols and its supfeme medieval
buildings were designed not in üe Neo-Gothic but in the building, Saint Vitus's Cathedral, remained half finished
German Neo-Renaissance style, Toward the end of the cen- until the nineteenth century: its transepts and western part
tury the national corrnotations of this mode faded, and is pic- were missing. In 1859 a Dombauzlerein, or Cathedral Build-
turesque qualities handsomely suited contemporary tástes, ing Society, came into being with the purpose of complet-
No architect could call himself Schmidt's pupil who did ing it and set about purifying the building of "its unsuitable
not show interest in-and possibly engage in the restora- parts."4Ó Work was conducted by Josef Kranner, who also
tion of-historic buildings, Of course, Schmidt received the prepared designs for additions and changes; he called for,
biggest commissions in the field, but plenty of workwas left among other Üings, the Gothicizing of the unique Renais-
to his pupils, even in the Ausrian half of the monarchy. sance and Baroque bell tower but wanted to leave the west
Thus, RichardJordan, Vikor Luntz, and Alexander Wiele- front towerless. After Kranner's death in 1871,Josef Mocker
mans festored several important medieval structures, and, took over and in 1873 construction started, (After Mocker's
like their teacher, they aimed at stylistic purity. In contrast death in 1899, work went on lrrtíl 1929 under Kamil
to these men, whose main line was architectural practice, Hilbert's guidance.) Mocker envisaged the constr-uction not
Rudolf Redtenbacher (1840-1885) devoted his life to the only oftwo transepts and a nave but also a pair oftowers on
restoration and research of historic buildings.a' He partic- t_he west fagade. His restoration progíam conspicuously
ipated in the restoration of the cathedrals oíMainz, Regens- resembled that of Cologne Cathedral, with the not insignif-
burg, and Frankfurt am Main, compiled a list of the historic icant difference that he had no medieval designs to draw on
monuments of Holland and another of those of Baden, and for the west front. Yet he closely followed the original sys-
published professional books. Several of Schmidt's pupils tem of the building when he added five bays and side
were appointed conservators of the Central Commission, chapels to the old nave. His towers on the west fagade dis-
includingJosefMocker in Prague, Augrrst Prokop in Briinn, play symmetrically arranged, regular details and verticality
and Julius llermann in Vienna, the latter succeeding not unlike that of German Gothic churches (Figure 13).
schmidt after his death as the chief architect of the Mocker wanted to crown his achievement by Gothicizing
Stephansdom.a2 the bell tower, but before that could happen attitudes had
Hungary was a special case because it had a special changed and his plan was discarded.
position within the empire. The Vienna-based Central WhileJosef Mocker (1835-1899) was often likened to
Commission lost its authority here in 18ó1,43 but around ViolletJe-Duc and Friedrich Schmidt by his contempo-
18ó8 the first batch of Schmidt's Hungarian disciples-Imre raries in his native country today he is ranked at best as
Steindl, Frigyes Schulek, and Ferenc Schulcz-returned Bohemia's foremost nineteenth-century building restorer.a7
from Vierrna to occupy leading positions in tlreir country's Indeed, an incredible range of landmark monuments in
building conservation.4 Mter a promising beginning, Prague and elsewhere in the present Czech Republic bear
Schulcz died young in 1870, before the Hungarian institu- his mark. His approach to history was tinged with national
tion for building restoration could be launched. But in 1 872 sentiment, as the restoration of Prague's Powder Tower
üe Műemlékek Ideiglenes Bizottsága, or Proüsional Com- (1875-189ó) shows.a8 The fifteenth-century structure was
mission of Historic Monuments, was founded, which damaged during the 17 57 siege of the city, when most of its
changed its name to MúemlékekOrszágos Bizottsága, or architectural trimmings and decoration disappeared. Based
National Commission of Historic Monuments, in 1882.a5 on the few remains, but chiefly on his fertile imagination,
Schulek took the position of architect of the commission, Mocker applied new blind arcades, finials, and tracery along
while Steindl was one of its other eight members. Yet, as with a series of coats of arms and a gallery of sculptures rep-
mentioned earlier, unofficially Schmidt played the role of resenting Bohemia's worthies: the four great medieval
the ultimate arbiteq whose opinions the Hungarians often rulers, Charles I{ Wenceslas Il Wladislaw II, and
sought and whose advice they usually followed, George; and the national saints, Adalbert, Cyril and
As a result, Schmidt and his pupils virtually monopo- Methodius, Procopius, Vitus, Wenceslas, Ludmilla, and
lized the restoration of historic buildings in the Austro- Sigismund (Figure 14). And, finally, there is homage to the
Hungarian Monarchy. They restored an amazíng number medieval mastef: above the arch on the west side, the bust
and variety of buildings in the geographically vast and cul- of the original stonemason, Matthaeus Reysek, Iooks down.
turally diverse empire. Some of their most extensive and The first Hungarian project of tlris kind, bound up wiü

180 JsAH / 61:2, JUNE 2oo2

Figure 13 Sa nt Vitus's Cathedra, Prague, restored bv Josef Mocker, Figure 14 Powder Tower, Prague, restored by Josef Mocker,
"om 1B73 1 875_1 896

Frieclrich Schrnidt and his pupils' nalnes, \\.as nreant to be Votivkirclre fbr the job. Yet Schulcz died prenraturely in
not just restoration but also a conversion to nroderlr use.+.)
a 1870, and In-rre Steindl hacl to replace him. Steindl carried
The rrredieval castle of Vajdahurrvad (Hr.rnedoara) in'I}an- on alorrg much the same lines, brrt resigrred in 1874 because
s1,1vania, the ancestral palace of the great national kine of the ser-ere curtailrnent clf the budget, Thus, the interior
_\Iatthias, u.as visited bl- Schnidt arrd tu,elve of his sruc]errts \\ras ne\:erctxnpletecl, a loss rrritigated by the fact that the
in 18ó7 (see Figure 5). Their spontillleous pleasure et the king had no intentiorr of usirrg the brrilding arri,üou,.
sight ofthe picturesque structure u.as follori.ed by fer.erish Brrdapest, neu.ly,elel,ated to capital rank after the Aus-
rr-ork orr rleasured drarvings on the spot ilnd then on tro-IIungarian cornpromise, sorely nrissed a chrrrch of
restoration designs irr Vienna. The next year the Hungar- national arrd historic irrrportance like the Steplransdom in
ialr governrnent inyitecl Schnridt to concluct the u.ork of \Iienna or Saint \Iitus'.s Catlreclral in Prague. The Church of
converting the castle irrto a royal residence for F-ranzJoseph the Holr- \,'irgin, poprrlarly called _Nlattlrias Churclr, on
(as lvould lrappen irr Karlstein, too, r'-ery soon), but Sclrmiclt
Buda's Castle Hill, u.as selected to plav this role, Not espe-
cleclined and recommended Ferenc Scl-rulcz insteacl. ,\r,r.-are ciallv glarr.orous itl its repeatedl). modified form, arrd
of the significance of the project, Scl-rulcz proposecl a richlr,, rvedsed betrveen large buildings, the churclr erectecl origi-
decorated palace cornplete rvitlr tall tou.ers, turrets, firrials, nally in tlre thirteentl-r ancl fourteenth cerrturies was
battlernents, and other aciditions (Figure 15). He set about unclorrbtedly orre of Budapest's f-eu, surviving meclieval
restoring the nrost precious and at the salne time rrrost l,ul- structures (Figure 1ó). Besides, some speculation of
nerable section of the castle, the ornate main u,ing acconl- assumed historical sigr-rificance, and the fact tlrat Franz
rrrodating the lGights' Hall. He hacl l-rrost of the stone
Joseph and Queerr Elizabeth lrad been crou,.ned lrere in
canings replaced by neu.lt. mircle tines; in order to ensure 1867, pror.ided the rrecessar1. jrrstification. Imre l{errszl-
" autherrtlricit1,, " he recruited stonenrasons frorrr Vi crrrra's nann pfoposed a thorouglr restoratiorr in the sty,le of the

FRlEDRlcH scHMlDT AND Hls ScHooL 181

 .\ '.r.,,li',,, l,it,,,ltt titt,
\itiíl;r-l,ttItr,,,lr
:, l.,

Figure 15 Vajdahunyad Cast|e, restored by Ferenc Schu cz, 1 868-1 B70, and by mre Steind , B70 ] 874, Sholrtn is Schu cz's
'1

project, f rom A Magyar Mérnók-Egylet Közlönye, 4, 1870, XllI

-ffi
9xí: * -*,§!".:í§5í.3al?a,.1
,,-1 ,-_ Á :.
e§,- ,- '-
- -."]ryi§rjffiii"*eí;ffi-'

Figure 16 N,4atthias Church, Budapest, before restoration

182 JSAH / 61:2, JUNE 2002

 stairs, and it complements Matthias Church like a latter-
day cloisters, The complex can be remotely related to
Sacré-Coeur and its stairs in Paris. In his later life, Schulek,
like his teacher in his last years, became even more enam-
ored with Neo-Romanesque rotundas.
Hungary's greatest Gothic church, Saint Elizabetlr's
Cathedral in Kassa (Ko§ice), also succumbed to puristic
restoration by Schmidt's other prominent Hungarian pupil,
Imre Steindl.sl Steindl was notorious for his ability to
increase initially small comrnissions to monumental projects,
and in Kassa he succeeded beyond his wildest dreams
(1877-1896). }Ie not only had most of the carved stones
replaced but, in his zeal to eradicate unusual and irregular
forms, he even altered the plan: he declared the two broad
aisles unstable, and by inserting a row of columns in each he
destroyed their unique vaulting (Figures 18, 19). "Reiss-
brettgotik" (drawing board Gothic) had defeated real, organic
Gothic, a development that Schmidt himself greeted with
reservation. Later, Steindl also wanted to Gothicize tlre south
tower and build a new north to\^/el but times had changed
and those parts of the building survived unscathed.
In Moravia, August Prokop spent years maintaining
and restoring Saints Peter and Paul's Cathedral in Brünn.52
In his capacity of "unappointed Dombaumeister" he re-
Gothicized the Baroque chancel of the medieval church
Figure 17 Matthias Church, Budapest, restored by Frigyes Schulek, (1889-1891), and cherished hopes of adding towers to its
18]4_1896 west fagade. IIe even acquired Heinrich Ferstel's, Josef
Mocker's, and Friedrich Schmidt's endorsement for the pro-
ject. Yet the matter suffered several delays and in 1902 the
thirteenth century, while Frigyes Schulek preferred the cathedral's new chaptel without having consulted Prokop,
fourteenth century and the addition of a second tower. announced a competition.s3 First prize went to August
Their destructive and arbitrary approach, fueled by national Kirstein (í856-1939), one of Schmidt's younger pupils, who
fervor, illustrated the excesses that puristic practices could was willing to migrate in search of commissions to any part
induce, Eventually Friedrich Schmidt weighed in, conünc- of the monarchy.sa In Brünn he honored the cathedral's
ing the interested parties to respect the various medieval Gothic style, and even tried to enhance it by putting two
periods as reflected in the church's structure, and to discard slender spires not on the west fagade but at the other end of
the two-tower proposal. Frigyes Schulek (1841-1919), an the church, on either side of the choir. He reasoned that the
eccentric architect specializing primarily in building, towers may have been there in the Middle Ages, but he also
restoration, was put in charge of the project (I87+-1896).50 put forward an aesthetic arg,ument: in the process of addi-
While he more of less respected the original layout and tion, the unusual relationship between the nave and the
details, he replaced nearly all t1re stones. Where he thought choir, which had approximately the same length, could be
some addition was needed, he designed one. This is how he changed, a definite advantage for the perspective úew of a
built the south porch, and also the fantastic spire, the most building standing on a hill. This last argument had, of
conspicuous feature of the church and a landmark of the course, nothing to do with historical authenticity; it
Budapest skyline (Figure 17). In the process, the adjacent expressed, ratheq the visual-impressionistic considerations
buildings were torn dou,n to enhance the monumenal char- of the early twentieth century.
acter of the site. Soon after, Schulek built the Fishermen's The restoration of medieval castles always involved the
Bastion next to the church on the edge of Castle Hill temptation of large-scale and arbitrary architectural inter-
(1895-1903). This huge Neo-Romanesque folly has the vention, especially when they were planned for a new use
practical function of a prospect platform combined with such as aroyalresidence. We have seen this in the case Karl-

FRlEDRlcH scHlvllDT AND Hls scHooL 183

 Figure 18 Saint
E]izabeth's Church,
Kassa, p|an befor-^
restoration, Írom
Káro|y Csányi, A
mű emlékrestaurálás
(Budapest, 1943),40

Figure 19 Saint
Elizabeth's Church,
Kassa, p|an after
restoration by lmre
Ste]nd|, 'l877-1896,
from Csányi, Á
m ú emlékrestaurálás, 41

stein and Vajdahunyad. When, toward the end of the cen- Redtenbacher's vieu.s \\.ere tantamount to an early ackrrou4-
turyJosefMocker restored the castles of Konopióté and Piir- edgernerrt of German Sondergtltik: "It is wrong to consider
gltz,he modified and harmonized the different sections of late Gothic as a decline; rvith sharp and unbiased eyes one
the buildings without radically changing them, let alone can discor.er in it possibilities of future development, vüich
wholesale remodeling them. Perhaps the aging master had can senre even today as a starting point."58 In another arti-
been touched by the spirit of modem building conservation. cle, Redtenbacher rvent further and cleared the Renaissance
The restoration of historic buildings in the second half of the doctrirraire Gothicists' accusations:
of the nineteenth century went hand in hand with steadily
expanding architectural and art-historical research and It is not true at a I what one-slded Gothicists reproach the
increasing theoretical awareness. Schmidt's pupils con- Renaissance with, that it neg|ected construction; in the good
tributed substantially to those trends in central Europe. period of the Renaissance quite speciaI attention was paid to
Imre Steindl followed in Friedrich Schmidt's footsteps struCtUre, and a ] the sham that one rightly cenSures beIongs
when he took his studenrc at the Budapest Technical lJniver- only to its period of decline, The Renaissance does not at aJI

sity on study tours in search of Hungarian medieval architec- on|y imitate the antiquity; it borrows ideas írom it but trans-
ture. IIe plarrned to publish the measured drawings in books íorms them entirey; it takes over the repertoire oí íorms but
comparable to the Wiener Bauhütte albums, but no publica- shapes it ndependent|y.59
tions followed the first üin volume of 1878,55 Similar "summer
holiday drawings" were made by Ernő Foerk (18ó8-1934) and Prescientl1,, Recltenbacher realized the close connection
his students at the High School of Construction Industry in betu.een research and contenrporary architecture:
Budapest as late as the 1910s.5ó They published their drawings,
primarily of historic monrrments in Tiansylvania and Upper The presentation of past architectural styles serves doub|e func-
Hunga4y, in several consecutive volumes.57 tions, the satisfaction oí a practical and a purely scientiftc
Of Schmidt's pupils, Rudolf Redtenbacher was the demand; rn the presentation, the one cannot be separated from
most preoccupied with theoretical questions. Inhis Leit- the other; practical approach wiiI lead to more thorough scien-
faden (Gúdine principles) of 1881, he surveyed the evolu- tiíic study, and scientific reve]ations wi|] benefit practicaI
tion of Gothic, and as a result came to the appreciation of !^*^^!^
uUllldllU5. tjo

late Gothic, in opposition to the opinion of the earlier gen-

eration, including Reichensperger's Cologne circle, who He concluded that eaclr style had its intrinsic values and
had rejected late Gothic in their search for an ideal style. u.Irat lvas regarded as obsolete or v,orthy of imitation could

184 JsAH / 6,1 :2, JUNE 2oo2

change with time, Thus, Redtenbacher broke completely evolved. One of the reasons may have been that Neo-
with the myth of Gothic's superiority in favor of an objec- Gothic was to a large extent limited to church building and
tive historian's attitude and emotional and ideological indif- had little impact on domestic architecture. In that field,
ference, Not surprisingly, in a few years' time he would Neo-Renaissance and cognate styles, including German
wite a Formenlehre (Science of forms) of Italian Renaissance Neo-Renaissance, in which some of Schmidt's pupils
architecture.ó| excelled, carried the day.
In the 1870s, Schmidt's pupils participated in the redis- As time progressed, neo styles gradually became ideo-
covery of the German Renaissance, They regarded richness logically less charged and their artistic and picturesque qual-
of form as its main virtue, best represented in the applied ities were more highlyvalued. This is how Hungary in spite
arts. This approach is reflected in the volumes compiled by of some grumbling from certain quarters, built a Neo-
August Ortwein (183ó-1900), director of the School of Gothic Parliament lIouse, and how German Neo-Renais-
Industry in Gtaz, which contained drawings not only of sance tamely turned into a favorite style for apartment
buildings but also of pieces of furniture and objects of the houses and villas. Schmidt and his pupils were at the fore-
goldsmith's ctaft.62 This and similar publications promoted front of üese changes; Gothic men tended to cultivate an -
gready the so-called altdeutsch taste. At the end of the cen- increasing variety of styles. Stylistic plurality meant not only
tury Johann Deininger, director of the State School of that they existed side by side but also that they began to lose
Industry in Innsbruck, wrote a book on the vernacular their archaeological accuracy and even tended to mix, giving
architecture ofTyrol and Vorarlberg, paving the w ay íot yet way to individual and arbitrary solutions. But "style" as such
anot}rer new trend, the Austrian Heimatsti1.61 persevered and remained important in mainstream central
August Prokop's (1838-1915) life and workwere bound European architecture well into üe twentieth cenfury.
up with the province of Moravia.óa His activities in Brtinn If Schmidt and his pupils played a key role in the cen-
as cathedral restorer have been discussed above. In the tral European Gothic Revival, they ürtually monopolized
1860s he taught at the Technical School of that city and the restoration of historic buildings in their native coun-
decided to compile a book on the Gothic monuments of tries. For many of them, there was little difference between
Moravia, a work similar to the Wiener Baubülre albums. Yet building and restoring: in building they utilized historical
in 1867 he went to Vienna, and when in 1878 he was forms, in restoration they reconstructed even what could
appointed professor at his old school in Brüxí1 he embarked have been saved. But restofers and projects differed from
upon a different book project: the history of art in Moravia. region to region. While Schmidt, after his initial ardor, took
The narrow-minded medievalist had turned into a modern a more cautious stance, his pupils in leading positions in
scholar prepared to judge each period by its merits and will- Bohemia and especially Hungary did not stop short of
ing to venture in his work as far as his own time. In 1904, destructive alterations and arbitrary additions even as late as
after many years of research, Prokop published the book in the first years of the twentieth century. Political conditions
four bulkyvolumes, the first, and so far the only, art history in the respective regions were responsible for an acute
of Moravia.ó5 a\üareness of the monuments of the national past and the
The activities of Schmidt's pupils covered an extensive drive to restore them lavishly. It is no accident that reaction
geographical region, which inlcuded the territory of the in Europe against such practices, by Alois Riegl and others,
Austro-Hungarian Monarchy (after Russia, the largest was perhaps strongest in Austria-Hungary. And while Neo-
country in Europe at the time) as well as areas in southern Goüic architecture, much despised for most of the twentieth
and central Germany. Yet not only geography but also the century has enjoyed gradual reevaluation, there is no such
number of architects involved and their sizable output made change in sight in the attitude toward puristic restoration.
Schmidt's school of Neo-Goüic the greatest of its kind per-
haps in the whole of Europe. In the decades between the
18óOs and the early twentieth century when Schmidt's
pupils were most active, their Neo-Gothic underwent some
changes, which meant reduction in some cases, further Notes
sophistication in others. But a basically conservative Research 1br this article outside of}Iurrgerl,v,as rnirde possible by g.rarrts tbr

approach prevailed; unlike in Victorian England, no force- visits to Arrstria and thc Czeclr Republic proviclecl bl, tlre Hungariarr
Nationa1 Sclrolarsh!p Courrcil arrd the Hungarirrr Acadenrv of Sciences, as
firl or idiosyncratic vocabulary appeared, and, in spite ofthe
u.ell as a l-isiting senior fellov.shi1; at the Center 1br Aclvarrced Snrdies irr
occasionally high level of draftmanship and craftmanship, thc Yisual §,ts, \\'aslrington, D.C., in l99,r. Speciel thanks are due to Prof'.
nothing comparable to the Aíts and Crafts Movement \\'alter Krausc 11'ierura) fol his cornrrrents ancl othcr help.

FRlEDRlcH scHMlDT AND Hls scHooL 185

 Schiiler just irr Arbeit lratte. Dx rrurdc qezcigt, ryie nlan zeiclrnen
und
1. For ecclesitstictl Gothic in ArLstria, \\'rlter Krarrse, "Neoe,otisclre
see
clrrstellen muss, eelehrt, u-ie tlan zrr construiLerr hlt, rlie clie Pllirre fiir
die
Ténclenzen irr der Sakralkrrrrst dcs ósterreiclrisclren Historisnrus," in Oth_
Ausfiihrung herzrrriclrten sincl, rvie nrrn die Formen rvlilrlt, nrit Riicksicht
llrer\\.essel1., etl.,l}rttcklterS1,1npOsiul11.Ant|]lBnn:kntrttnrldieKircbettllrusik
(Linz, 1988), 33 39. euf l\Iaterir] urrcl Bearbeitung u.s.rr, Die s;irrrnltlichen iibriglen Schiiler

2. For llenszlnrrnn, scc the spcciir1 issrre oí ,1 n^ íIungariu 1 8, no, 1 ( 1 990), ulnstanden ]riebei den ]\1eister unr] mit der gespanntesten,\rrlrnr:rksrrnkeit

dcrotcd exclusivelr- to hinl. l.rrrtle qelrusclrt. Jedes \\Iort, jeder Setz enthielt eine grrtc Lehle, einen
grrtcn \\ irrL."
3. For the,\rrstrian brckgrorrncl, sce Hans-Christoph l{oi}ilann, \\'elter
Krarrse . lnd \\'erner Kitlitschkl, I)rts ll'iuter Openthlus, r,ol, \T1I/1 of
Dla 19.]\uqrrstProkopp,..Die.\\riencrBarrhiitte,,,,Zeitrhriftlesosterrcithis-
Bill einat.Epocbr: (\\,iesbaclen, 19i2),12 _l8 ("F)xkurs zur tbcn InQeúenr, ttnd,lrthitekren,L'ereits í7 (18ó5): 1l] 19,
II/ietrcr Ringstrttsse,
20. ()r,qtln tl.1,istlitbc krnst 15 (18ó5): 8],
fiir
\*eugotik in Österreich rurd Bohnren"); lbr tbe IIrrngarian backgrclrrncl,
Ibid.,
Dorr \\'icberrson and.József Sisa, etls., T'bt Árthite ír|rc af Hiltori lLttttglrl ] 1. 1 .] 7_13 8.
22. l\tgust \\Iieletlans, Fj,iu]ritt: Schnitlt (\|ienl1 1905), rvith a ]ist of
(Canbridee, -}Iass., encl Lontlorr, 1998), 1 ó9 1 8 1,
.{. Renrte \\'agner-Ricger, ll/iels ,,'!rt]:itaktttr im 19, Jlbrl:utzárt §rienrrr, Schnriclt\ sntdents.

l97()), 1ó+.
]l.C.l'on\.incerrtj...DerGothikerFriedrichSchnricltundscineSchrrle,''
j),
jstaristlsc il LI'jtttcr Kuttsí-lkntlisstlttce. Stutlien untl C]:rlrtlktetistl[al öiienna, 187
5. Rutlrlif F]itelberger, "Friedrich Sclrnidt," in Gcslln,ncJtc Kttuth
SrhriJtctt, I. I{tnst ttncl Kiinstler Ll/iens tler nueren 7rit örienna, 1879), ]9 38.
f -l, In rccent l-ears, \LA. rntl Pb,D, tlissertations haye been rvt,itrcn otl s,ltttc
171 ]01; Friedrich Peclrt, I)ear_v:/rr Kiillstltr tles nlunzrllntert Jlltl]:undat,ts.
Drittt: Rti].le (Nörclling-cn, 1t]81), 171 201;i\tpJrrst Rciclrerrsperp;er, Zar of Schrlitlt! pupils. 'Ilrcv inclrrc]c: Ilrns Lehnbruch, "Georg Ritter v,
Chttrlrtarisit.tt.rtg dts BttttLlcisttrs Frict]ricJ: L,on Sthnlidt (Diisselclorf, rr.11.
Hauberisscr,kg.l.Prof.essorrrnclArchitekt',(Llnirlllunich,1970);Rolrncl
Priessrritz, "Alextnc]er vcnr \Vieienrrns, cin \\riener Architekt clcs irusk]in-
|1891]); Ers,in Neurrrann, "Frietlrich vn Sclrnlidt"
(1iss,, t]rrirersiw of
gcrrclen Historistlus (cin Yersrrch zur Clrtrlkterisierung seirres Sti]s)" (Lrrriu
\Iicnne, 1952); LTlrike Plenner_Stciner,,!i-lrlr.lrh Lon Stl)lnjlt, ancl I(lerrs
Eggett, Gottft,ietl Sunper, Cttrl t,an 17ucnlucr, vol, \TII/2 o[ Dit Lfictrcr \Iienna,1987);}lartirrStarrgl,..RicharclJordan,Sakralbauten,,(Urrir-.
Rittgstrlssc, B jJtl eitlcr Eporl:e §\Iicsbaclen, 1978); I,rictlricl: z,on St]snilt
\-iennr, l999).
sec \\'agner-
(l S2r-1891). l|itt gotischu,Rtttiolal'r,t, exlribitiorr cataloqlle , ed, Peter Hriko 25. Frlr the churclres of Schnrdtis pupils inYjennt irr general,
Rieqer, I,IJels,,íl,cl:itcknn,, ]]7-]51 (see n, -l),
ancl ]].crrate Krsstl }likrrlr Olierrne, 1991).
]ó. Uirikc 'llrictrre il]1d Frrnz Beckel Allgcmeinas Lerikon drr l,iltlcltdcl
ó. For tlrc conrpletitln ol ()oiogne Cathcdrrl, sce Der Kőlner Dom int
catrloguc, ed, TIugrr Borqer Kii.nstlcr,r,o]. 19 (Leipzií., 192ó), 1íl1.
.flhrhtrnlert stiltcr llollenthtng, exlribition irr Hernlls bei \\'ierr"' l,|]irlcl,
(Colog,ne, 1980). ]7. F.X.K. p1, "Die Retlelnptoristcnkirche
7. TIrns Yogts, L'ilcertz Stüz (l 819 1 S9S) (}Iönchcngledbaclr. 1 9ó0), Bl in t l tLstrj c,Ztitang ó (1 889): ]+7-]+8,
(Pra3ue,
28. Enranrrel Poche, Pmhrt krok zLl krokom (Pragrre step br- stcp)
E. C]eorg (iernrirnn, Gathit Rci,it,ll itt Ettrope nttl l]ritlin: Sou,cc, lnflttttres
(}othic 1985), ].]].
ltu] Itlels (London, 1972); §Iiclreel.[. Lcrris,7,1:e Palitics of thc Germdu
London, 29. Beer, "Die Krrclre zu St. Paul in ,\Iiincherr," Dit Chri,rtlidlc Kumt 1
Raxbttl. ,LtLgttst Rcl l,clt?cl3cr (Nerr, \brk, Crnlbriclge, }hss,, rn11

1993),
(1904/05):97 10ó.
]0. Ferenc Yirc]rs, "Szerrt Erzsébet stílrLsábarr" (Irr the sq,le of Seint F-,lizr-
9. Eill gatischer Rltianlli,;t, )(l
1 0. Reichensperq, er, 7, ur C h l rl cte t,isi ru n q^ 6, betlr),.S:a/on 2, no.2 (L998): 3ó-'í3,

1 1. Ibid., 1 1_1]. )I. L-,ilt r RltiomliJt,28 (see n. 5),

11otirhe

1]. \\hlter írotll, Ilee ultd. L'utjt,klicbttlQ. Dn Ll'erlu der sttlltlithen Ernst Brtlstiibncr, "Krrrrstgeschjclrtsbilcl und ]]auen in historischen
_]-].

DnlunalpJlqe n ()srcrreir,l: §lienrrr, 1988). Stilen-Ein Vcrsuch iiber clie \\'echselbezielrungen zrlischen kunst
1], Erzsébct Clserlegirré Tonrpos, "A pécsi székeseqlház Schmidt-félc geschichtlichenr Yerstárrdnis, Derrkrnalpllegc und historistischer Bruprtxis
inr 19. .[ahr}lrurdert," in I(arl Heinz Klingenbu rg, et1,, Historisut tls-,lspe
kte
íljjáépítése"(The reconstrrrction of Pécs Cttlrcdral br- Schnridt), lz
lLr Jll:rhmlcn (Lcipzig, 1985), ]ó 'l0,
Építőipni és Közlekdísi llíísutkiEg.l,etarl Tudaruin.1,or Közlezrríll1,il (The Sci KrtLtst illt 19.

"Kirche clcs Asvls.|ohannesstein bei Reichenberg i, B,

entific (]onrnrrnicrtiorrs of thc Univcrsi§ of (]orrstructiotl ln(lustn, lnd 13. Luclrr.ig Klrserr,

Ti,ans1lortatitlrr) 10, no. .5 (1i/ó'+): ]] 75. vilnl -{r,chitektctr Riclr,rrcl Tordrn," Detis]:es Blu{auerksblitt 11 (1892):
1.1. Plrcc nrrncs rrill bc eiven, in tlre crse of"Austrja" (i.e,, the rycstenr part 25lJ,2ó0.
H.. "Zrrr Vollerrtlrrng des sicbzigtcn Leberrsjrhres C]eorgs von
of the ernpire. irrclurlirr_e BoJrelnia), in Gertrran; irr the case of lristoricr1 _].l.
:tittiltg't5 ): 193-1 9'{,
T{ungar1,, irr I1urrgarian. 'lhe present-dtv ()zeclr, Siovakiarr, or Rurrranirn
Hauberisser," L) at isth e B ut (1 9 1 1

(}nnlriss,I,Ilrllildu,
nrrnes rlill be gir.en irr parentheses cnlr- at their first trrcnti<lrr, 3 5. Ludu.ig Klas en, etl., Gehliude fíir L,ctl,rtlttLttgszzLe cllc.

ttller,1l,t, r,ol. 9 (Lcipzig, n,d, [1t]8ó]), 748 7't9: C]hrriottc

t,otL (}ebtittr]en
15. Joseph Nexandcr Heliirt, "Die \\Iiedcrherstcllurrg der Burg, I(aristeirr
Rtt th iitt s cr i rt t le tttsth en I{l i s t r re i c l: 1 8 i 1 l 9 1 E
Iichaclis, (}lunich,
in Biihtnen," ,lIitthciluugan tlcr k.k. Certtrttl Camruissian.fiit,Etfbrstl:uug unl Krenz_.\

Erbllttng t]Lr Ktntst, ttrul Historjsillett DenhnLlk N, F, ]8 (1902): 1 17; 1() ;6), 165 .

]ó. F-. "Pline fur clen Nertbrrr eirrcs Rethhauses zu Reichcnberg i, Böh-
l)obros]ltr,e ,\Ienclovii, Státti l:rutr] Knl,íttin (The State Castle lierlsteirr)
(Pllgue.1957). tnetl," I)uttstl:t Btttt:einLng 21 (1887); 577-580, ó13-ó15; "Der preis,

1ó. \\hlter \\Iagn er, Dit (]estll jtbte du- Akttdenl ie tlct, Bilt!cntlcn Kiinste h lL'iett geklönte Ennlrrrf 1iir dls Rrthlreus zrr Reicbenberg in Böhnen"' L)ttttsclse
Buzeiíuttg ]] (1888): 29--]0,
§Iierrna. 19ó7), 1++,20ó ]1'+.
]7. .\Iichael Brir ,.rncl }Iorrika Steirrharrscr, "Geschichte itn Dienst
cler
17.(]arl vcnr Litzclsr.,StJ:ntidttrndHlnsen.LjncPlrlllele (\'ienna, 1891),
18. \Iar Fleischer, ]}rietlrith Frriberr ,_. Sctllnilt lts IInscb, Lehrcr und Cllcf
Brrrkunst.,,inBrixendSteinharrscr,eds.,Geschithtellltinist:titgtttt|iss.His.
(\'iennr, 1891), .' ó. "In Sclrnriclts Sclrrr]e konnte und nlussteJecler etlvrs tarislttus itt Detttschlrnul(Lahn and (Jiesscrr, 19,,8),)69_)i,); Brtlstiibner,
"Ktnstgeschichtsbilcl urd Bruen,"'10,4'l,
lcrnen, denrr der L]nterriclrt $,ar irlclivitlrreli. \'on Brett zrr Brett gierrp; der
]8. For Steincll, see §ice Hon,átlr, e,J,, Stcindl llttrc (1339-19021 építőz,
l\leister, un \I()rtfeg zrr hrlten, ankniipt'errd xn den Geg,enstirrtl, den dcr

186 JsAH i 61:2, JuNÉ2002

,1íí.gJ,et€rui furuír cl)lléke:ete (Innlenor\., of In]re Steinc1l [1i339 1902], rrclri- 54. Thicrne enc1 Becker,llfuem.eiltes Lctikon, vol,22 (1927), 381.
tcct, professor ofthe Técbnicel Universin) (Budapest, 1989). 5 5 . }I l gy rt rarsz tígj m.íínl lék c k. Ki l rs ztj go s B izo tts i gi n l k
Q l : : 1 X I ííern l éh e k
()

39.Az otszig htízl. Btuh pesti orsziíghizrtenek 1l81-I 881 Tl:e Houv aJ'the lso::/tjirilisrít,al n Btttllpcsti K.K. JőzseJ lIífug,ete7n építészetihlllgntőhnk
Nltiott. PnJinnant lllnsJ'or Budl-Pest 1781 188í, cxlribitiorr catelog.ue, ed. eg,esii.lete Staindl lmre n.ll. r. tlnlír te:etése llntt (Ilonrrmenrc irr lIungary.
Eszter GáLror rnd lIíra Verő y The Plrlilm.altt
(Budapcst, 2()0());Józscf Sis Editetl u.ith tlre enclclrsement of the National (]onrrrissiclll on Historic
House o.f'lltLnglr1,, photographs bv Bence Tihrrrvi and Ágnes Bakos Buildings br,- the socje§ of the strrclents of arclritecnrre at the Budapest
(Buclrpest, 2001). Irlpetill and Roval,1oseph Téclrnical Universi6,undef the s,uidince ofpro
40. .\Iice Horr,átlr, "Errmiirle Inrre Steinclls zu dern ersten Alchitektrrr- 1éssor Imle Steindl) (Burlepest, 1878).
$,ettbe§,elb 1872 1iir das Gcbliucle des Berliner Reichstags," Pu-ioiica Po\, 56. Fou-k Etní (} 868- l 911) ípítésztlnlékkiillírív('l'he rrrelnorirl exhibition
tccl:ttiu )) (1988): 19,+ó. oftlre architect Ernő Focrtri 18ó8 19j+), e-xhibitioll catalogrre (Budapest,
11. Kutstc l: ron i k .18 ( 1 885/8ó): 2,1 7 -)j 9 (lbinra4.). 198+).
,l]. Frodl, Ile e uil hrtirk\illung (see n. 12). A lndg,lr kiruíll,i tillarui íxi sziinitlei
57 . lntdapasti Jihí építíipnt,iskall 191 3.
-1.]. Erníí l\Ierosi, "Die Ánfánge cler Denkmalpflese und die T'itigkeit der
Jilt-éxki (I'he 191 3 vacaticln nreasured clrtrvitlgs of üe tsudapest Rol,rl State
k. u, k, Zerrtrelkomnrission in L'Irrgarn," irr ,\Iarosi, cd., Die unglrischt High Sclrool of (]onstruction ]ndrLstr1,) fu.p., n.cl.). 'l'Ire last volrutre lr,as
Kttlstqe,rchicl:tt tuil tlie llicner Stl:ule 1E46-19]0 §ierrrrr, 198]), l] 18. conrpiletl h 191I/12,
1-1. _|ózsef Sisa, "Stcindl, SchrileL und Schulcz-drei rrtrg-arisclre Schüler cles 58, Rudolf Recltenllrclrer, Ltit|llcn :tt.zn SttLdium der nittckltarlitben
\\lener Donlbrrrrneisters Friedrich rorr Schmidt," IIittciLungen der Bluktnst. Fannencbl,e tlcs rotltltlischan nnd gothisthen Stiles nlJ Gruudldgr ihrer
Guelkill.ft J:iit,t;crgleicl:uilc Klnst/brstbtng in lf iul 3,., no, _5 (1985): 1 ó. lsistorjschttl EnnL ickh.ng (Lelpzig,, 188 1), 2 ]: "} Iit Unrecht sieht nan in cler
"A '\Iawuországi ,\Iűemlékek Ideiglerres Bizottságá'-nak
,1_í. Béla lJorsos,
Spátgotik einen \Ielfall, rrran lr.ircl rrrit scharfen rrnd r.ofurthcilsfteien ALlgen
ll}iíködése és a gvííjtenlénl.ekkirlakullísúrak kezclete" (Tlre activities :rnd njclrt rrenige cnnrickiur-rgsfálrige Keime in ihr cntdecken, an lrelclre sich
thc errlr- histon of the ctrllectiorrs of thc "Hrrrrgarian Prol,isional Corrr heutzrrtage noctr arrlrriipfen lásst." See also Gerrrrann, Tbe Gathir Rruixll,
trrissiorr on ITistoric Brrilclings") in lllgl,dt J.Iíícznlékt,édeletl196T,1968 171-172 (see n. 8).
(Hrnglrian protecdon of n]ollull}ents 19ó7-19ó8) (Budrpest, 1970), .13 ó3; 59. Ruc1oli Rcdtenbrclrer, "Die Barrlonst der Yerganecrrlreit rrrrcl ihre Stel-
lJélr Borsos, ",\ tnirqTxí nííenrléln,édelernhivatala FTenszlrrranrr halálától r lrrng zrr derjenigcn der (iegerrrrrrt," Allgemtine Bluzeitultg.tó (188l): 19.
rnillcrrniurnig" (l'Ire Hurrgariln ofíice for the protectiorr of historic build- "Es ist keinesv.egs rr.l1rr,, v.rs von Seite rler einseitigen Gothiker dcr Renais-
ings iroln Henszlnlann's cleath trr the rrrillcrrnirun)1 in IIlE,lr sance vorg,eu,oríen rt.ircl, sie habe clie Korrstruktion r-elnachlissigt; in dcr
,\Iítnlíkr,édclcln, r,o1.9 (Brrlapest, l98+), 3] 51. guten Zeit cler Renaissance l,ircl arrf die I{onstrrrtrltion ein ganze besonclerer
,ló. Antorr Porllahr, FiiJl,e r lurtb den Dont zu Prag, l)th cd. (Pragrre, 191.{); \\'erth gelegt, urrd erst ihrer \leríallszeit 3ehört e11' das Schcinrl-csctr rn,
Joseph Nerrrr,irtlr , Der Dom St. L'eir zu Prlg (I}erlin arrcl Stuttgrrt, rr.d.); }I.arie rvelches man mit Recht tadelt. Die Renrissnnce hat siclr auclr keinesu,egs
Bcne§ova, trslel ut]littkttírtt 7: prcTúllcb t]Tall sroktí, 1iSO-t 9E0 (Czech archi- bloss nrchahnlerrd gegen das Alterturrr verlralten; sie elrtlchnt ihn u-oh] rlie
tcctrrre in the changes Oft\1.o centufies, 17lJ0 1980) (Prague, 198.1). gcdrrrken, gestaltet sic aber clurcharrs neu, sie entnirnmt ihnr die Folnren-
17. )IittheiLungett Jtl, k.k. Central-ConnlissirnJiir EtJh.schung und Erlwlutng rvelt, bildet sie lber grrrz selbstindig unr."
der Kulnt- ulttl Historistlln Denkm.lle , ro1.2 5 ( l899), 1 10; Tht';ína Petrasrlvá, Ziel allcr Darstellrrngen rler Baus6,1c cler Vergangenheit kann
ó0. Ibicl. "Des
Jovfllatku,lEli 1E99 stnitel katetll.ífi, ([oseftrIocker 18]5 l899 arclri- dahcr ein doppeltcs seirr, ein praktisches oder cirr rein rvissenscahftliclrcs
tcct ofthe cethedral) (Prague, 1999). Bediir]:niss zu befriecligerr; in cler Darstellrrrrg selbst rber llisst sich die eirrc
-l8..[osef }Iocker, Der Pttlt,eftlttvt in Ptug (Pragle, 1889), albrun in Czech, oder andele Scite nicht scharf trennen, das praktische Interesse fiihrt zu
Gertrlrn. rrrcl French. rr-issensclraftliclrer \értiefllng, das rrissenschaftliche Erkennung niitzt denl
J9. Isn-írr \Iöller, :1 ldjtklsunl,atli xir építésikord Qhe steges rrf the corr- praktisclren Bediirfniss. "
structiol] of Vajdehulvacl Castle) (Brrdtpest, 1913). ó1. Rudolf Recltenbacher, Die Arthitaktur der itdlienischctt Rcttlisslnte.
50. (]óza Entz, A btulat:iri Nagl,btlldoglss:on.l íemplom és l Hllisztli$q. Die Entuichltntgsgcrhichtett. Formenleh,e tlerselben. Eiu Lebr- uul Hnilbuch fti.r
,\hriettkin,l:c und die Fisthcrllntei ilt tler Fcsttutg Btttld. Tfu Chtu-th of Our Lad1, An,hitektn (Frankfurt am Ntain, 1 88ó).
ilt ]:]udl ltttl tl:t: Fisthennen's Blstiott (Budapest, 197.{); 1br Schulek, scc Glula ó2. Augrrst C)rm,cin, Dcutschc Rcnlissnnce. Line Slnunlungt,on Gegestrillut
Forstcr, Sc/,l/ei Frigycs crulébezatc ('lhc rnenol1 of Frigr,-es Schulek) ier,4rcl,itaktu\ Detorltiott unl Kmtstgett:crbr il Oridndl-Atfltlhrun,9 s-ols.
iBrrdrpcst, 1925). (Leipzig-, 1871_18i]í]).
j1. Errrií \ínlosi, "Steindl Itrrre és a ktssai clótrr" (Inlre Steincll rnd thc ó3. _|ohantr Deininger, Dn Bauernlllus in Tiral utcl Li1.1r/bet.g (Irrrrsbruck,
Crthcdrel ofKassa) in Flcln-íth, Steiudl llnt.c, J5-48 (see n. 38). 189.5).
52. .\rrqust Prokop, Dil Markgrqlicba.fi ),Irjbrcn in kanstgestlsitl:tliher ó.1,'l'hiene ancl J3ecker,,,1//g ellt hrcs Lcl i hon, vol. 2 7
e ( l 9.3 3 ), 42 0.
Bc:icl:uttg, r.ol. .l ö-ienna, 190+), 136]-1]ó8; Prvel Zatlorrka7, Hi,rtorivlus, ó5. Plokop, Dit llttrkgrlJsthlJt },Iihran (see t 52).
,1lthitcLtu,tt 2. polatin1, I9. stalctí na Montaé l ,-,e Slczsleu (Historicisnl. 1'he

erchitecnrre oftire secorrcl helfofthe 19th ccnturv irr },íorrvia and Si]esir) Illustration credits
(()lonlrluc, 1 98ó), 1++ó. Figures 1 3, ó-8, 1l, 13, 14. l\utlror
,i 3. ''Die lcleen-\\icttbelr.erb filr die \\'iederherstellung des Donres St. Peter Figrrrcs'{, 9, 10, 12. 1íl, 17. Nationtl Conlnissiorr on Flistoric Buildirrgs,
und Parrl in Briinn," C enn,d lb lltt der - ]J nn atl l lttm g 22 (1 902): 89 92. Buclapest

FRlEDRlcH scHMlDT AND Hls ScHooL 187