Este trabalho busca identificar os edifícios religiosos desenvolvidos entre os anos de 1880 e 1930 na cidade de Curitiba. O estudo parte do aparecimento do gótico e neogótico na Europa e, consequentemente, considera a influência do imigrante europeu na arquitetura religiosa neogótica desenvolvida em Curitiba da virada do século XIX para o XX. Para exemplificar a pesquisa foram selecionadas cinco igrejas que são, a nossos olhos, relevantes para a demonstração da adoção do estilo arquitetônico neogótico. Sendo assim, os cinco exemplares demonstram características particulares, porém inserem-se em um mesmo contexto histórico de caráter neogótico, marcando a influência do imigrante europeu em terras curitibanas. / This study aims at identifying the religious buildings developed between 1880 and 1930 in Curitiba. The study begins with the appearing of the gothic and neo-gothic in Europe and, consequently, it considers the influence of the European immigrant in the neo-gothic religious architecture developed in Curitiba in the turn of the nineteenth to the twentieth century. To exemplify the research, five churches were selected, which are, in our opinion, relevant to demonstrate the adoption of the neo-gothic architectural style. So, the five examples show peculiar characteristics, but are part of the same historical context of neo-gothic character, pointing out the influence of the European immigrant in the lands of the city of Curitiba.

The current state of research on the design and construction of late Gothic vaults is principally based on the interpretation of sources, but rarely on surveys of existing vaults. In particular the idea for the criteria upon which the radii of the single ribs and arches were determined (so-called "principal arch"), is found to derive from sources dating from later periods when Gothic vaulting was no longer generally practised. In fact, this interpretation cannot be supported by geometric surveys on existing vaults: the plain contradiction to the actual geometric properties of some of the vaults studied so far have called for a critical revision of this interpretation. For investigating the design criteria and procedures starting from the built object, and also debating the methodological aspects of using the "building as source", a rewarding subject is the vault with curvilinear ribs in the "Hall of Arms" in the Albrechtsburg at Meissen (Germany), which was built by Jacob Heilmann in 1521. This is due to its ambitious design, high quality of execution and good state of preservation. A detailed survey of this structure is presented, discussing different aspects of the design, construction, and detailing, e.g.: Investigations on the geometrical concept of the vault by means of "reverse geometric engineering", on the background of the problem mentioned above. Further, the stone-cutting of the single members of the vault, which offers interesting aspects of standardization and its limits in nerves with double curvature: standardization in medieval constructions has been object of discussion, but not yet studied in the ambit of late Gothic vault construction. The question whether and how the vault surface was determined in the design, being the principle structural feature working as a shell structure; this is of particular interest as the relation between the rib system and the shell is complex and has consequences on the stone-cutting of the arches. The question how the design specifications for the single rib members could be derived from the general concept of the curves (clarified in the survey); the context to the graphic sources and technical prose related to late Gothic vault design and structural design. The aim is to understand the entire design process, the criteria of the decisions taken, their relation to the contemporary theory, and the communication process which took place for the creation of this extremely demanding structure.

Furniture history is often considered a niche subject removed from the main discipline of art history, and one that has little to do with the output of painters, sculptors and architects. This thesis, however, connects the key intellectual, artistic and architectural debates surfacing in 'the arts' between 1740 and 1840 with the design of British furniture. Despite the expanding corpus of scholarly monographs and articles dealing with individual cabinet-makers, furniture making in geographic areas and periods of time, little attention has been paid to exploring Gothic furniture made between 1740 and 1840. Indeed, no body of research on 'mainstream' Gothic furniture made at this time has been published. No sustained attempt has been made to trace its stylistic evolution, establish stylistic phases, or to place this development within the context of contemporary architectural practice and historiography — except for the study of A.W.N. Pugin's 'Reformed Gothic'. Neither have furniture historians been willing to explore the aesthetic's connection with the intellectual and sentimental position of 'the Gothic' in the period. This thesis addresses these shortcomings and is the first to bridge the historiographic, cultural and architectural concerns of the time with the stylistic, constructional and material characteristics of Gothic furniture. It argues that it, like architecture, was charged with social and political meanings that included national identity in the eighteenth century — around a century before Charles Barry and A.W.N. Pugin designed the Palace of Westminster and prominently associated the Gothic legacy with Britishness.

Diploma thesis "Neo-Gothic rebuilding of chateau Hluboká nad Vltavou" first provides a brief summary of basic literary and archival sources, followed by description of terminology in the field of 19th century architecture together with the explanation used by the author. After that there is mentioned a situation in Czech architecture at the end of 18th and in the 19th century. Next point is the Gothic Revival phenomenon - its establishment, ways of its spreading and its influence in middle Europe including Czech countries. Own topic of this thesis is introduced by a general and building history of chateau Hluboká nad Vltavou. After that there are introduced prince Jan Adolf II. of Schwarzenberg and his wife, who managed the rebuilding of the chateau. There is also a description of their personal contacts with British culture and architecture. Main part of the thesis is dedicated to Neo-Gothic rebuilding of chateau Hluboká nad Vltavou. This chapter is divided into several subchapters, where are described changes in the chateau interior and exterior including the effort of document the direct influence of Gothic Revival, and also the adaptation of the close surroundings of the chateau. Keywords Neo-Gothic architecture, Great Britain, Gothic Revival, chateau Hluboká nad Vltavou, prince Jan Adolf II....