Richard Upjohn: The American Gothic Revival Movement

The construction of the first church occurred in the year 1698. The second construction was in 1790 after the “Great Fire” left the church wrought with damage. Lastly, the final reconstruction of the church took place in 1846 after the architect, Richard Upjohn, identified structural problems caused by exposure to harsh winter weather. Richard Upjohn was a highly regarded architect of his time recognized primarily for his integral participation in the American Gothic Revival movement. As one of his most innovative designs, Trinity Church set the standard for Gothic Revival architecture in the United States. Though Upjohn’s design appears to have similar characteristics to other churches today, the design was revolutionary for the time in that it pushed the simple church design. Architects and artists alike such as Richard Upjohn were committed to the exploration and expansion of Gothic Revival as an architectural movement in itself. Such explorations are apparent throughout the Trinity Church.

The use of varied stylistic elements characteristic of Gothic architecture on the exterior through the interior of Trinity Church creates a balance between symmetry and asymmetry; these work together to give the design the sacred effect desired by Richard Upjohn, ultimately challenging the traditional architecture design of the time.
Trinity Church currently covers an entire block in the downtown metro area, surrounded by modern city buildings forming a courtyard-like area where the church rests. The weathered and layered brick brownstone façade of Trinity Church stands out to a viewer in contrast to the surrounding towering modern modular buildings that are composed of glimmering glass façades. The church’s spire stretches to a grand height of two hundred and eighty-one feet, though this is still shorter than the adjacent buildings. Although a bit asymmetrical in plan, the church itself is symmetrical on the exterior façade in that it exhibits a balance through the inclusion of evenly spaced ornate Gothic pinnacles. The pinnacles mark the small buttresses that follow alongside the church. A series of pointed lancet arches seen on the exterior emphasize the upward movement towards the heavens. Furthermore, the church contains three entrances, one of which is at the front Broadway entrance, and the other two that face the north and south courtyards. All of the entrances, similarly, have bronze doors decorated with detailed biblical scenes.
Once inside the church is the nave with adjoining aisles on either side. The nave features a clerestory, typical of Gothic style architecture, which stretches the length of the church allowing light to shine through at a higher level. Aligning the three sections are a series of cluster columns that reach from floor to ceiling emphasizing the grand height of the church. The columns and vaulting form an arcade of pointed lancet arches that continue the movement in an upward motion. The arches allowed for more vertical height distributing the force of heavier ceilings and could support more weight than the pillars that were previously used. The consistency of lines and geometry help guide the eyes of the viewer vertically. Furthermore, the church features rib vaulting that allowed Upjohn to extend the height of the church even further while adding structural support. Vaulted ceilings are significant to the design as they utilize the technology of the pointed arch to spread the force and weight. This distribution of force within the vaulted ceiling enables vaults to be constructed in different sizes and shapes. Before pointed or lancet arches were implemented most arches were designed to be circular or rectangular.
Next to the North Courtyard entrance is the baptistery that includes an Italian triptych. Along the walls of the aisles, adjacent to the nave, are a series of stained glass tracery windows. Painted in the stained glass windows are pineapples, which are a symbol of hospitality. One aspect of Gothic Revival architecture is the consistent focus on bringing light into the church through the opening of walls and breaking of geometry highlighting the belief that God created the world according to measure; therefore, the integration and use of light is a symbol of divinity.
The sanctuary features many different design elements integral to the overall construction and utility of the church. On the borders of the sanctuary are the church choir and clergy stalls. The stalls are significant in that their design includes intricate lion carvings. Lion carvings have been incorporated into church architecture as a symbol of good and evil. On the left front corner of the sanctuary, is the elaborate pulpit that is used for church sermons. Behind the altar is the imposing sanctuary wall, or reredos, made of what appears to be a combination of a type of sandstone and marble. Centered along the back wall is the colorful stained glass chancel window. The chancel window features Jesus in the center. He is surrounded by his apostles: Peter, Paul, Mark, Luke, John, and Matthew. Opposite from the sanctuary, at the back of the church and above the Broadway entrance, is the pipe organ case played during church services.
The church contains two primary courtyards that rest on either side—the north and south courtyard. The courtyards provide views of the church further emphasizing the balance in symmetry present in the Gothic Revival style. Additionally, from the courtyards, one can see that the church structure excludes flying buttresses in its design, a feature that is characteristic of Gothic architecture. However, the design does include buttresses, which enabled arch to spread the weight of taller walls and towers. This innovative design challenges the traditional Gothic style architecture through the integration of old and new technology.