If there was very little Gothic work done in the third quarter of the century in France comparable in quality or in interest to that of the Anglo-Saxon countries, yet there was a general movement there away from the somewhat mincing attitudes of the forties and early fifties. Just as the Medieval Revival in America, considered in a broad sense, came to its climax in the mature work of Richardson (see Chapter 13)—which is much more Romanesque than Gothic in so far as it leans at all on the past—in France the Romanesquoid work of Vaudremer represents the highest achievement of the period in a non-Renaissance mode (Plate 72A). The same may even be said up to a point of most of the other countries of Europe. Yet the Germanic _Rundbogenstil_ of the third quarter of the century was, for all the size, prominence, and elaboration of such public monuments as Waesemann’s Berlin City Hall or Hansen’s Vienna Waffenmuseum and the real excellence of Herholdt’s Danish work, already a sinking rather than a rising mode. In Germany and Austria more Neo-Gothic edifices, both secular and ecclesiastical, were built after 1850 than before; several of them have already been mentioned. These are, however, rather examples of contemporary eclecticism than of a concerted movement. In addition to his school and his Rathaus, however, Schmidt built in Vienna some eight Gothic churches ranging in date from the Lazaristenkirche of 1860-2 to the Severinkirche of 1877-8. Most of them are brick-vaulted hall-churches—that is, of the characteristic medieval German plan and section, with aisles of the same height as the nave. However, the largest and most interesting, the Fünfhaus Parish Church of 1868-75, is centrally planned. This is an aisled octagon rising to a ribbed dome with hexagonal chapels grouped around the irregularly polygonal apse (Plate 99B). The spatial complexity of the interior is of real interest, and the walls are painted to suggest polychromatic brickwork of almost English brashness. Two front towers flanking the gabled entrance bay are set close against the dome to provide a very Baroque sort of composition—this is really, therefore, a sort of Sant’ Agnese in Agone or Karlskirche carried out with a G. G. Scott vocabulary of Neo-Gothic elements. In Hungary the eighties saw a very belated manifestation of secular Neo-Gothic. The Parliament House, begun in 1883 by Imre Steindl (1839-1902) and completed in 1902, was surely inspired by Barry’s in London begun nearly a half-century earlier, but in character it is (not surprisingly) more like Schmidt’s Vienna Rathaus. Thus did outlying countries in the later decades of the century continue to take up modes long obsolescent in the major architectural centres.[255]