Snagov, Sinaia, Iași, Suceava, Sucevița, Dragomirna, Putna, Rădăuți, Humor, Voroneț and Cernăuți. His own work, in churches at Șanț, Rădești, Sibiu, Ciacova and elsewhere, reflects attention to tradition but not a mere reproduction thereof. From Byzantine models he took the monumental size and decorative look; this was infused with the Renaissance and German schools, in particular Arnold Böcklin, to create a neo-Byzantine style most evident in the Sibiu cathedral. In a number of Transylvanian churches, particularly in the Năsăud area, he painted icons and sometimes entire iconostases. This period saw him transposing some of his Sibiu projects in smaller form, as he did at the Greek-Catholic Churchs of Fabric (Timișoara) and Rădești, and at Ciacova Orthodox Church. Smigelschi also used his study of Gavriil Uric's calligraphy in his illuminated manuscript of the Gospel, completed for Bishop Victor Mihaly de Apșa, and in diplomas for Albina Society founders, which also carried his personal seal. After moving to Sibiu in 1905, Smigelschi was able to complete his commission there by the time the new cathedral was dedicated in May 1906. As a speaker of German and Hungarian, he fit easily into the city's artistic milieu, though he intended his contribution to emphasize "Romanianism", at a time when Romanians were still a minority in Sibiu. According to theologian Ioan Abrudan, the result is "liberated from Neoclassical naturalism", and mostly resembles work put out by the Pre-Raphaelite Brotherhood and the Nazarene movement, being similarly indebted to Fra Angelico and Sandro Botticelli. Features of his cathedral work, which he himself published as prints in Luceafărul, include Christ Pantocrator in the cupola, the Four Evangelists on the pendentives and the painted iconostasis. Mostly done in casein paint, it was retouched by Coulin. The Sibiu project extended notions of a purely Romanian art to cover all details of the creative process. As attested by Braniște, Smigelschi was only interested in depicting the saintly figures as ideal Romanians, and purposefully avoided showing Christ as a "Jewish type". Romanian folk motifs are used in the clothing worn by the Three Magi, the shepherds and the child angels with the star, while the Nativity of Jesus is transposed to a Romanian setting. Various authors suggest that the Magi are each inspired by a ruler of the Romanian provinces (Moldavia, Wallachia and Transylvania): Alexander the Good is taken from Sucevița, Neagoe Basarab from Curtea de Argeș and Matthias Corvinus from a