Raimondo’s encounter with Gothic and Medieval style was predestined. His competent passion should be equally ascribed to the neo-Gothic design of his father, author, and builder of many churches, and to the teachings of Giacomo Franco at the Academy of Venice. If his first contact with the Gothic style took place in the building site of the Loggia del Lionello, D’Aronco later became passionate about the work of Viollet-le-Duc, praising the “marvellously clear and simple” Entretiens. For the cemetery of Cividale, D’Aronco chose an architectural language characterised by a neo-medieval lexicon, into which he introduced neo-Gothic elements - peaks, pinnacles - providing the project with that innovative imprint much appreciated by the client, who praised his “good taste and genius”. D’Aronco’s most significant experiences with Medieval styles and in particular the Gothic were concentrated in two years, from 1888 to 1890. In addition to Cividale, in fact, he participated in the second contest for the Palace of Parliament in Rome (1889) where he presented a project that could compete the Houses of Parliament in London. Further proof of his Gothic expertise is the competition project for the Treviso Cemetery (1890). Two versions of the “Chapel to be erected near the Castle of Rocca Bernarda in Friuli” (1884) are known: one for a small church where he used decorative vestments without emphasis or redundancy and in the façades, he used facing bricks.
The Family Tomb in the Udine Cemetery (1898), on the other hand, is ascribable to the peculiar eclecticism of the architect who, by then living in Istanbul for a few years, combines the East - understood as ancient Egypt - with the West, mixing urns, garlands and ribbons with lion heads and sacred scarabs. The design for the Lantern for the dead in the Udine Cemetery (1890-1896) stands out for the quality of its execution and the usual creative approach to the unusual theme. For the Camavitto Tomb (1904) the architect develops the studies he had carried out for the Regional Exhibition, one of the highest points of his adhesion to modern architecture, anticipating the dynamism of Futurism with the simultaneous progression of the arms of the cross rising above the funeral chapel.
The project for the new Shrine of Sant’Antonio in Gemona (1923-1924) developed in a Baroque sense from Renaissance assumptions, a Greek cross plan with a succession of niches, exedras, protruding bodies, concluding in a majestic dome comparable to Juvarra, which, as in the church of Superga, is preceded by a large pronaos. Whilst the Shrine was not realised, the construction of the church attached to the Ribis asylum (1922-1923) was successful. D’Aronco studied two versions: one with more sober scores, the other with a wealth of curvilinear forms in keeping with the contemporary “Roman Baroque”.