During the second half of the nineteenth century, countries everywhere strove to define their own national identity. In Portugal, intellectuals turned to the High Arts, and found the perfect example of a glorious, lost past embodied in a monument that was, coincidentally, at this time, in a near-ruinous state. Public outcry drew attention to it at last. This resulted in a decade-long restoration campaign, one collapsed tower, eight deaths, and several architects being fired from the project. The monument was the Jerónimos Monastery in Lisbon, and the word for the new architectural style its restoration ushered was coined in 1842: "Manuelino", the style of king Manuel I. Manuelino stood not just for glory that has been lost, but for something intricately Portuguese. As such, it spoke to the country's nationalist sentiment. A neo-Manuelino style co-existed with the Mudéjar and Gothic revivals, in the nineteenth and twentieth centuries, and is defined by fantastical elements and excessive ornamentation. The vanguard figure of neo-Manuelino is an Italian architect called Luigi Manini.