Not to be confused with Gothic literature, which originated in the 18th century through Romanticism.
Gothic architecture is a style that prevailed in Europe from the late 12th to the 16th century during the High and Late Middle Ages. Originating in the Île-de-France and Picardy regions of northern France, it evolved from Romanesque architecture and was succeeded by Renaissance architecture. The term "Gothic," derived from the Germanic Visigoth and Ostrogoth tribes, was initially used as a derogatory label during the later Renaissance by those who favoured a revival of classical antiquity's architectural forms. The style was originally referred to as Opus Francigenum, meaning "French work" in Latin.
A defining characteristic of Gothic architecture is the pointed arch. This innovation facilitated the development of pointed rib vaults and flying buttresses. These structural advancements allowed for greater height and larger window openings, which were filled with elaborate tracery and stained glass windows. A pivotal moment in the emergence of Gothic architecture occurred at the Abbey of Saint-Denis near Paris, where the choir's reconstruction between 1140 and 1144 incorporated these developing features for the first time. This new style emphasized verticality and the transformative effect of light filtering through stained glass, intended to evoke a sense of the divine.
Gothic architecture is prominently found in Christian ecclesiastical buildings, including cathedrals, churches, abbeys, and parish churches. It was also employed in the construction of many castles, palaces, town halls, guildhalls, universities, and, to a lesser extent, private residences. Numerous significant examples of medieval Gothic architecture are recognized as UNESCO World Heritage Sites.
While the Renaissance architectural style, which developed in Italy during the mid-15th century, eventually supplanted Gothic architecture, the latter continued to develop and flourish in some regions, notably England and Belgium, into the 16th century. Beginning in mid-18th century England, a series of Gothic revivals occurred, spreading throughout 19th-century Europe and persisting into the 20th century, particularly for churches and university buildings.[1]
Gothic architecture is distinct from the later Gothic aesthetic, which emerged in literature and art through a Romantic lens. While the architectural style originally aimed to express the might and glory of God through soaring heights and luminous interiors, the later Gothic aesthetic often focused on themes of fear, mystery, and the supernatural, drawing inspiration from the atmospheric qualities of older, sometimes ruined, Gothic structures.
History[]
Gothic architecture, originating in the Middle Ages, was prevalent in Europe from the mid-12th century to the 16th century, evolving from Romanesque.[2] While rooted in French architecture, the style's influence spread across Europe and beyond. Initially termed Opus Francigenum, meaning "French Work," it was extensively employed by religious institutions, particularly the Roman Catholic Church.
The Basilica Church of Saint-Denis is recognized as one of the first truly Gothic buildings, marking the transition from Romanesque.
Gothic churches and cathedrals often served as prominent landmarks, with tall towers that frequently dominated the urban skyline. Early Gothic churches, such as the Basilica of Saint-Denis, featured twin towers on the west front, a design that influenced the plan for Notre-Dame de Paris. In contrast, Italian Gothic churches sometimes featured towers separate from the main building. External facades were often heavily ornamented with sculptures and decorations depicting biblical scenes.
The term "Gothic" was introduced in a derogatory manner by Giorgio Vasari in 1550, coinciding with the style's decline. Vasari, in his *Lives of the Artists*, described the defining architectural features of Gothic architecture as "barbarous German style," attributing their development to the Goths and blaming them for the destruction of classical buildings.
Churches, ranging from small chapels to large cathedrals, represent the greatest number of surviving Gothic architectural structures. The style, spanning a considerable period, exhibited variations.
Notable examples of Gothic architecture include Westminster Abbey, Notre-Dame in Paris, Milan Cathedral, and St Stephen’s Cathedral.
Late Gothic styles saw regional variations. In Germany, vaulted halls became a prominent feature. In contrast to much of Europe, where stone was the primary building material, Italian Gothic architecture often utilized brick and marble.
The rise in popularity of Renaissance architecture in Italy, France, and other parts of Europe led to the decline of Gothic architecture.
Early Gothic architecture developed from Norman architecture on both sides of the English Channel. However, the Abbey of Saint-Denis (1135–1144) and Sens Cathedral (1135–1164) are considered the first fully Gothic buildings.
Norman Gothic developed within the Angevin Empire, featuring elements like the Norman chevet and the lantern tower. Examples include Bayeux Cathedral, Lisieux Cathedral, Rouen Cathedral, and Coutances Cathedral.
Abbot Suger's reconstruction of Saint-Denis introduced features that became common Gothic elements.
Early English Gothic emerged following the rebuilding of Canterbury Cathedral's choir after a fire in 1174, with William of Sens and later William the Englishman as architects. Worcester, Wells, Lincoln, and Salisbury cathedrals are other major examples.
High Gothic (c. 1194–1250) produced significant Gothic landmarks. Chartres Cathedral, rebuilt after a fire in 1194, exemplifies this style. Other High Gothic cathedrals include Reims Cathedral, Amiens Cathedral, Bourges Cathedral, and Beauvais Cathedral.
The High Gothic style spread to Central Europe, influencing buildings like Toul Cathedral, Trier's Liebfrauenkirche, the Elisabethkirche at Marburg, and Metz Cathedral.
Rayonnant Gothic prioritized stained glass, with examples like the nave of Saint-Denis and Sainte-Chapelle.
Decorated Gothic in England focused on window ornamentation, with examples including Westminster Abbey, Lichfield Cathedral, Exeter Cathedral, Bath Abbey, and the retro choir at Wells Cathedral.
Late Gothic saw the emergence of the Flamboyant style in continental Europe, led by Prague Cathedral (begun 1344) under Peter Parler.
Flamboyant style featured details like the *arc-en-accolade* window arch. Examples include the west façade of Rouen Cathedral, Sainte-Chapelle de Vincennes, and the choir of Mont-Saint-Michel's abbey church.
In England, Decorated Gothic transitioned to Perpendicular Gothic from the 1320s. Perpendicular, unique to England, appeared in Old St Paul's Cathedral's cloisters and chapter-house, Gloucester Cathedral, and reached its peak in King's College Chapel, Cambridge, and Henry VII Chapel at Westminster Abbey.
Gothic architecture persisted in some areas until the 17th and 18th centuries, notably in Oxford.
From the mid-15th century, Gothic gradually declined in Europe. Italy, influenced by Roman ruins, returned to classical models, exemplified by Brunelleschi's dome of Florence Cathedral (1420–1436).
In the 16th century, Renaissance architecture from Italy spread to France and other countries, leading to Gothic being labeled as outdated. Giorgio Vasari's negative description in his 1550 *Lives of the Artists* contributed to this view. The term "Gothic" itself became pejorative.
Despite this shift, new Gothic buildings, especially churches, continued to be constructed. Examples in Paris include Saint-Merri and Saint-Germain l'Auxerrois, with Saint-Eustache incorporating Renaissance elements.
In Germany and Spain, Renaissance elements were initially used primarily for decoration, with examples like the Fugger Chapel in Augsburg and the palace in Granada. El Escorial became a major early Renaissance work in Spain.
England, under Henry VIII and Elizabeth I, was relatively isolated from continental architectural trends. The first classical building in England was the Old Somerset House (1547–1552), followed by Burghley House and Longleat. John Shute's 1570 book introduced classical architecture to England.
Gothic architecture, especially for churches and university buildings, experienced a revival from the late 18th century and throughout the 19th century, also influencing the development of Gothic literature. Perpendicular was the first Gothic style to be revived. Examples include buildings at Oxford and Cambridge Universities, Strawberry Hill, and the western towers of Westminster Abbey, marking the beginning of the Gothic Revival.
Characteristics[]
The structural characteristics of Gothic architecture are defined by several key elements. Pointed arches are a primary feature, contrasting with the rounded arches of Romanesque architecture. Rib vaults, often intersecting, provide structural support for the building's height and roof. Flying buttresses are external supports that distribute the weight of the roof and walls, allowing for thinner walls and larger windows.
Large stained glass windows are a prominent visual element, filling interiors with colored light. These windows frequently depict biblical narratives. The emphasis on verticality is another defining trait, achieved through tall naves and spires. Ornate tracery decorates windows and other architectural features.
Pointed arches were widely used in Gothic architecture for structural and decorative purposes. They create a sensation of verticality. Early Gothic architecture employed lancet windows. Later Gothic styles incorporated more elaborate pointed details.
Gothic rib vaults were crucial for the construction of tall buildings with large windows. They direct thrust to columns and piers, allowing for thinner walls. Early Gothic used six-part rib vaults, later simplified to four-part vaults. Later Gothic introduced various decorative vault types.
Columns and piers varied in design. Early Gothic used capitals modeled after Roman Corinthian columns. Later Gothic introduced clustered columns and other variations. Some columns were very tall, continuing to the vaults without interruption.
Flying buttresses are external arches that support the weight of roofs and vaults. They enabled taller buildings with thinner walls.
Towers, spires, and flèches were important features, emphasizing height. They often served as bell towers. Tower designs varied, with some churches featuring twin towers, while others had a prominent central tower. Spires and flèches added to the vertical emphasis.
Tracery is an architectural element that divides windows and other openings. Early Gothic used plate tracery. Later Gothic developed bar-tracery, with various styles such as Rayonnant and Flamboyant. English Gothic employed Perpendicular tracery.
While later perceptions of Gothic buildings, particularly in the context of Gothic literature, may emphasize darkness and mystery, the original visual intention of Gothic architecture was quite different. Medieval churchgoers experienced these buildings as bright and filled with light, enhanced by the vibrant colors of stained glass. This illumination was intended to symbolize the divine.[3]
Sculpture[]
Sculpture was an integral component of Gothic architecture, serving to visually communicate biblical narratives to a largely illiterate population. The design and placement of this sculpture were not at the discretion of the sculptors; the Second Council of Nicaea in 787 established that the composition of religious imagery was dictated by the Catholic Church and religious tradition, with only the artistic execution belonging to the artist.
In Early Gothic churches, following Romanesque precedents, sculpture was initially concentrated on the façade, specifically within the tympanum above the central portal. As the Gothic style evolved, sculpture became increasingly prominent, extending to the columns of the portal and eventually covering entire facades with statues in niches, as seen in Wells Cathedral. This sculptural embellishment also spread to the transepts and, in some cases, even to the interior of the façade, as in Amiens Cathedral.
Chartres Cathedral provides early examples of this sculptural program, with its west front portals depicting the three epiphanies in the Life of Christ. At Amiens Cathedral, the tympanum over the central portal illustrated the Last Judgment, the right portal the Coronation of the Virgin, and the left portal the lives of significant saints. This arrangement established a complex iconographic program that was replicated in other churches.
The columns beneath the tympanum were often shaped as statues of saints, symbolically representing them as "pillars of the church." Each saint was identifiable by a specific symbol placed at their feet; for instance, Saint Mark was represented by a winged lion, Saint John the Apostle by a winged eagle, and Saint Luke by a winged bull. Floral and vegetal decoration, symbolizing the Garden of Eden, was also prevalent, with grapes representing the wine of the Eucharist.
The central portal tympanum on the west façade of Notre-Dame de Paris vividly portrays the Last Judgment, with depictions of sinners being led to hell and righteous Christians ascending to heaven. The right portal sculpture shows the Coronation of the Virgin Mary, and the left portal depicts the lives of saints important to Parisians, particularly Saint Anne, the mother of the Virgin Mary.
To enhance the visual impact, the tympanum sculptures were painted in bright colors, following a 12th-century color system. This system assigned symbolic meanings to colors: yellow (gold) represented intelligence, grandeur, and virtue; white (argent) symbolized purity, wisdom, and correctness; black (sable) signified sadness and will; green (sinople) represented hope, liberty, and joy; red (gules) meant charity or victory; blue (azure) symbolized the sky, faithfulness, and perseverance; and violet (pourpre) was associated with royalty and sovereignty. In later Gothic periods, sculpture became more naturalistic. Figures were carved in the round, detached from the walls, and displayed more expressive faces, conveying emotion and personality. Drapery was rendered with greater skill and detail. Depictions of hell's torments became more vivid. The late Gothic sculpture at Siena Cathedral by Nino Pisano, foreshadowing the Renaissance, is particularly noteworthy. Many of these sculptures are now preserved in a museum to prevent deterioration.
Besides sculptures of saints and apostles, the exteriors of Gothic churches were also adorned with grotesques, fantastical and often frightening creatures. These included chimeras, hybrid creatures with a lion's body and goat's head, and strixes or stryges, owl- or bat-like creatures believed to consume human flesh. These grotesque figures, drawing on classical Roman descriptions, served as a visual reminder to illiterate worshippers of the dangers of evil and the importance of adhering to church teachings.
Gargoyles, added to Notre-Dame around 1240, served a practical function as rain spouts. Designed to divert rainwater from the roof away from the walls and buttresses, preventing erosion, they were also incorporated as decorative elements. The numerous gargoyles channeled rainwater from roof gutters, down channels on flying buttresses, and through channels carved into their backs, expelling it from their mouths. Many of the statues at Notre-Dame, particularly the grotesques, were removed or destroyed in the 17th and 18th centuries and during the French Revolution. They were later replaced with Gothic-style figures designed by Eugène Viollet-le-Duc during the 19th-century restoration. Similar sculptural elements are found on other major Gothic churches in France and England.
Another common feature of French Gothic cathedrals was a labyrinth or maze on the nave floor near the choir. These labyrinths symbolized the challenging journey of Christian life toward paradise. While most were removed by the 18th century, some, like the one at Amiens Cathedral, have been reconstructed, and the labyrinth at Chartres Cathedral still exists in its original form.
Varieties[]
Under Construction
Landmarks[]
- Amiens Cathedral, Hauts-de-France, France (High Gothic)
- Barcelona Cathedral, Catalonia, Spain (Catalan Gothic)
- Canterbury Cathedral, Kent, United Kingdom (English Gothic)
- Chartres Cathedral, Centre-Val de Loire, France (High Gothic)
- Cologne Cathedral, North Rhine-Westphalia, Germany (High Gothic)
- León Cathedral, Castile and León, Spain (Spanish Gothic)
- Milan Cathedral, Lombardy, Italy (Late Gothic)
- Notre-Dame de Paris, Île-de-France, France (Early to High Gothic)
- Prague Cathedral (St. Vitus Cathedral), Prague, Czech Republic (Various Gothic phases)
- Reims Cathedral, Grand Est, France (High Gothic)
- Sainte-Chapelle, Île-de-France, France (Rayonnant Gothic)
- Strasbourg Cathedral, Alsace, France (Late Gothic)
- Westminster Abbey, London, United Kingdom (English Gothic)
- York Minster, North Yorkshire, United Kingdom (English Gothic)
Gallery[]
Under Construction
References[]
- ↑ "What is Gothic Revival?" on canterbury.ac.nz
- ↑ "A brief history of Gothic Architecture" on iconeye.com
- ↑ "Chartres Cathedral clean-up row: Experts divided over whether dirt should be left in place to keep ‘authentic’ Gothic feel" on independent.co.uk