In this period, between 1860 and 1880, are the first manifestations of eclecticism in the city in the middle of a major expansion and urban growth.
Neoclassicism, imposed from the Academy limited the creativity of the architect to the interpretation of the classical rules controlled by academic censorship.
The eclecticism seeks to break this rigid academic schedule, allowing creativity and freedom of composition. Allow reuse of all styles, separately or in combination. So there will be different based influences: classical, medieval, Renaissance, Baroque, etc.. They prefer the Gothic or Romanesque to the religious buildings and classicism to official buildings or banking.
The architecture will adapt to the new demands of a rising bourgeoisie, who seek the reflection of their economic position by the elegance and luxury of eclecticism.
In Elizabethan architecture is an early example of neoclassicism dissolution and emergence of eclectic spirit.
In Vigo, eclecticism is driven from a young bourgeoisie seeking richness and ornateness of the exterior walls to reflect their social position prestijio. The ornamentation enriches decorative repertoires expand more and more lush and rich, while the composition scheme is stable with rigorous symmetry through vertical shafts.
In this period in Vigo econtramos early example of an Elizabethan eclecticism desornamentado austere and even linked to academic compositions is present in the works of Manuel de Uceda and José María Ortiz.
In a second stage, starting from about 1872, shows an eclecticism consolidated, more wealth and freedom ornamental, with performance Sesmero Domingo Rodriguez and his son Alejandro Rodríguez-González Sesmero
Architects and master builders representative
- Jose Maria Ortiz and Sanchez
- Manuel de Uceda
- Alexander and Domingo Rodriguez Sesmero
- Manuel Fernandez Soler
- Former Council of Vigo - Jose Maria Ortiz and Sanchez (1862)
- Current Chancellor - Manuel de Uceda (1863)
- Museum of Contemporary Art. MARCO - Jose Maria Ortiz and Sanchez (1880)
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