Gothic Architecture

Whitney Adams
Professor Rodgers
ARTF 110
9 December, 2013

Development of Gothic Architecture

The 11th to 15th centuries observed a great increase in the presence of the Christian Church within Europe. The Crusades were a strong cause for this surge in the Christian religion. The growing population of the Church increased the demand for a Christian presence in architectural monuments during the Romanesque and Gothic periods, which lead to a great cathedral construction boom across Europe. The Gothic architectural styles were distinctive in not only the large windows and use of stain glass but they were known for their use of flying buttresses and they were built to be more vertical as if they were reaching out to the heavens. It is also known for the introduction of art within the Cathedrals including the stained glass, the use of gargoyles, and column figures just to name a few. Although the Romanesque period led way for the innovation and creativity of the Gothic periods, architectural breakthroughs allowed for the Gothic period to change and stand out from the Romanesque period. Through analysis of the Abbey Church of St. Denis and the Cathedral of Notre Dame at Chartres, we will discuss the innovations that made these designs possible as well as the styling, and formal elements used.

As the name implies, Romanesque architecture has a certain affinity with Roman architecture, there most distinctive feature used is the semi-circle or Roman arch. Romanesque buildings are also quite immense as opposed to the much more thin and vertical monuments of the Gothic era. An important structural development during the Romanesque period was the origin of the rib vault. The rib vault was originally designed as a substitute to wooden roofs which were more susceptible to fire, they soon became a key architectural feature in all cathedrals. Another advancement made during the Romanesque period was the cruciform structure of the church, the church plans actually form a crucifix. This element is usually thought to be associated with the later Gothic styles but it did originate in the Romanesque period. The increasing significance of the Catholic Church at this time led to an equally increasing demand for architectural monuments that would reflect the power and influence of the Catholic Church. This was also the time of the Crusades throughout Europe which were wars against “paganism” or any non-Christian believer, during this time the Christian community was encouraged to unite and these structures gave them that ability. The Gothic period saw the expansion of Cathedrals and the power of the Catholic Church, this period stimulated technical and artistic innovation. During the end of the 12th century, numerous new and innovative art forms began to emerge. While early Gothic styles replicated several of the Romanesque features, some differences include the use of rounded arches in Romanesque structures while Gothic architects adopted pointed arches, the Gothic period also saw the introduction of flying buttresses which allowed for a thinner walls and larger windows while Romanesque structures are known for their very thick walls. Other distinct features of Gothic art and architecture showed the strong influence of the Catholic Church on architectural design. As we discussed, many of the Gothic cathedrals as well as Romanesque cathedrals were built in the design of a crucifix. The Rose window which progressed from the Romanesque style round windows, they also used very intricate glass art that portrayed religious images. Gargoyles are especially distinct in concerns to Gothic architecture, the term itself originates from the French word for throat, gargouille, which refers to the sound which water makes as it passes through the gullet (2013. Howe). The drains at the top of cathedrals were molded into the forms of creatures or beasts known as gargoyles. When it rains, the gargoyles appear as though they are spitting water from their mouths. The plans of the gothic cathedrals revealed the several different functions that were intended by the Church, they believed that the floor plan would increase the dedication of any person which entered. The main features of the plan consisted of a cruciform plan with a five-aisled nave with a central vessel and two aisles on each side. (Simson) These aisles allow for the person to circle the entire church without entering the central vessel. In addition to the central portion of the Church, radiating chapels allowed for personal reflection. The flexibility of the pointed arch allowed irregular areas to be vaulted while maintaining a common ceiling height. Elements of the church plans could be combined into a unified ordered composition, thanks to the geometric freedom offered by the combination of rib vaults and pointed arches. With the external reinforcement that the flying buttresses provided, entire walls could be dedicated to windows. As the gothic style developed one can see the desire to reduce solid building mass and to enhance the quality of space and light.

The Gothic style originated in northern France, in a region around Paris. This area had very little Romanesque buildings and this was perhaps why it was open to other developments. This area was also the home to abbot Suger, the abbot of St. Denis. Suger’s parents had sent him to St. Denis at the age of three where he entered the monastery school to become a monk. When Suger became abbot in 1122 the existing building was overcrowded and somewhat run down, it was a Carolingian basilica that Suger wanted to rebuild and restore the Church for Gods glory and for France. Suger developed images of what he wanted the new church to be, he studied biblical descriptions of the Temple of Solomon, “a design specified by God” (Knight). He also studied descriptions of Hagia Sophia in Constantinople, which at the time was regarded as the most beautiful church in Christendom, which Suger was determined to exceed. In order to expand the church he constructed a new west front and narthex forward of the existing structure. Three doorways had carved tympana and jamb statues, while the articulation of windows, including a rose window. Went beyond the linear façade compositions of Normandy. On the interior, rib vaults in the narthex sprang from grouped piers. This exploited the potential for continuity of line throughout the floor plan. The response was very enthusiastic towards these changes and construction started almost immediately on the east end. A new choir was built which clearly shows Sugers love for colored light. Each of the seven radiating chapels of the choir contain two large stained-glass windows. The irregular bays of this very complex plan are consistently covered by rib vaults that allow for a uniform height while slim buttresses reinforce the upper walls. This combination creates an airy, luminous, rich interior that glows like jewels, precisely the effect desired by Suger. Unfortunately Suger did not live to see the completion of his masterpiece, but the wondrous quality of light and space created by the new choir was not lost. Within two decades Gothic churches were under construction at several different sites in the area.

The first monument of the High Gothic was the cathedral of Notre Dame at Chartres. Flying buttresses were planned from the start, so that the galleries were unnecessary. This simplified the interior elevations to three divisions; the nave arcade, the triforium passage, and the clerestory windows. The size of the clerestory windows increased largely in size and vaulting shifted from over two bays to over one bay. The site had long been sacred to the Virgin Mary, and the cathedral treasure contained, among other valuables, a tunic believed to have been worn by Mary. Chartres had been the site of pilgrimage and a Romanesque basilica with three deep radiating chapels was constructed to replace an earlier church destroyed by fire. They began work on the church in much the same manner as the St. Denis Cathedral, they wanted to build a new west front and narthex. Sculptors from the workshops of St. Denis came to Chartres to carve the three portals of the west façade, and the three lancet windows overhead were filled with stained glass depicting themes pioneered Suger’s church; the infancy of Christ, the Passion story, and the Tree of Jesus. Unfortunately for again struck the church and this time destroyed the wooden roof, although the new west façade was unharmed. The townspeople felt that it was a sign that Mary desired a larger church. The Gothic cathedral at Chartres was built in the span of twenty six years. However the north tower on the west front wasn’t completed until 1513 finally giving the west front a balance asymmetry of form and style. The completed cathedral is said to glow inside with wonderful luminosity, in the shift from early to high Gothic work the proportion of window to wall were increased significantly. At Chartres, visible structural elements including, vaulting ribs and wall shafts in particular, are slender and deeply undercut so that they appear to float free of the surfaces to which they are connected. Even the buttresses, especially the fliers have a sense of lightness to them, and Chartres has managed to preserve about two-thirds of the original stained-glass. While the Abbey Church of St. Denis influenced all other Gothic architecture, Chartres included, I believe what Suger was trying to create was completed more successfully at Chartres Notre Dame. The model of Chartres was used at many sites from thereafter, but the original inspiration was provided by St. Denis and Suger’s ideas. The innovation that Suger was able to inspire through his vision was quite spectacular and visible throughout the Gothic period.

In conclusion, Gothic architects used a very modern structure and innovative processes to do something that had seldom been sought in architecture before. The innovators wanted to let architecture contribute to the setting rather than just providing shelter. The awe that was once felt by the people of the Middle Ages can still be felt today when visiting these wonderful architectural monuments. Like a museum, this is a place that can be visited many times, and each visit can bring new enjoyment and discovery.

Abbey Church of St. Denis

Notre Dame Cathedral at Chartres

Bibliography
Howe, J.. N.p.. Web. 10 Dec 2013. http://www.bc.edu/bc_org/avp/cas/fnart/arch/gothic_arch.html

Knight, K. .

N.p. Web. 10 Dec 2013. .
Simson, Otto Georg von . The Gothic Cathedral, Origins Of Gothic Architecture And The Medieval Concept Of Order. Bollingen Foundation, print.

Bibliography: Howe, J.. N.p.. Web. 10 Dec 2013. http://www.bc.edu/bc_org/avp/cas/fnart/arch/gothic_arch.html Knight, K. . N.p. Web. 10 Dec 2013. . Simson, Otto Georg von . The Gothic Cathedral, Origins Of Gothic Architecture And The Medieval Concept Of Order. Bollingen Foundation, print.