Weber is mentioned with Vught, Uden and Zevenbergsehoek as variations on Roermond's Munsterkerk "with which the precursors of a modern architecture would feel akin rather than countless casts of Gothic. [What exactly did he mean by this? Weber as a forerunner of central building in liturgical renewal?] | Harmelen excels in beauty of building order and stucco work, according to the people of Harmelen. Hamersveld he calls an attempt and 'mortal sin against the essence of Gothic', but it is our first 'Gothic Godshuis'. Also includes a lithograph of the Church of Our Lady of the Assumption in Leiden, which, however, is not by Kramm. | Very little information about Molenaar. | Brom criticizes Tétar van Elven's church facade, calling it a hard stone stage set. | The author describes the revival of ecclesiastical Catholic art in the Netherlands through chapters such as freedom, water state style, Alberdingk Thijm, Cuypers, St. Bernulphus guild, and the Catholic Art Circle De Violier. A list of named names (including architects) and churches (by locality) is given. The St. Willibrorduskerk in The Hague, the St. Petrus Banden in Rijsenburg and the St. Jan in Schiedam by architect A. Tollus are discussed. It is also mentioned that architect Wolter te Riele refused to blindly gild the R.K. 'Waterstaats'kerk at Wijk bij Duurstede (designed by Tollus), where there was an 'unusually hefty construction to spare', but simply enlarged it according to its own nature.