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Gothic architecture is a style of architecture which flourished in Europe during the high and late medieval period. It was preceded by Romanesque architecture and was succeeded by Renaissance architecture.

Originating in 12th century France and lasting into the 16th century, Gothic architecture was known during the period as "the French Style" (Opus Francigenum), with the term Gothic first appearing during the latter part of the Renaissance as a stylistic insult. Its characteristic features include the pointed arch, the ribbed vault and the flying buttress.

Gothic architecture is most familiar as the architecture of many of the great cathedrals, abbeys and parish churches of Europe. It is also the architecture of many castles, palaces, town halls, guild halls, universities, and to a less prominent extent, private dwellings.

It is in the great churches and cathedrals and in a number of civic buildings that the Gothic style was expressed most powerfully, its characteristics lending themselves to appeal to the emotions. A great number of ecclesiastical buildings remain from this period, of which even the smallest are often structures of architectural distinction while many of the larger churches are considered priceless works of art and are listed with UNESCO as World Heritage Sites. For this reason a study of Gothic architecture is largely a study of cathedrals and churches.

A series of Gothic revivals began in mid-18th century England, spread through 19th century Europe and continued, largely for ecclesiastical and university structures, into the 20th century.

The term "Gothic"

The term "Gothic", when applied to architecture, has nothing to do with the historical Goths. It was a pejorative term that came to be used as early as the 1530s by Giorgio Vasari to describe culture that was considered rude and barbaric.^[1] At the time in which Vasari was writing, Italy had experienced a century of building in the Classical architectural vocabulary revived in the Renaissance and seen as the finite evidence of a new Golden Age of learning and refinement.

The Renaissance had then overtaken Europe, overturning a system of culture that, prior to the advent of printing, was almost entirely focussed on the Church and was perceived, in retrospect, as a period of ignorance and superstition. Hence, François Rabelais, also of the 16th century, imagines an inscription over the door of his Utopian Abbey of Thélème, "Here enter no hypocrites, bigots..." slipping in a slighting reference to "Gotz" and "Ostrogotz."^[2]

In English 17th century usage, "Goth" was an equivalent of "vandal", a savage despoiler with a Germanic heritage and so came to be applied to the architectural styles of northern Europe from before the revival of classical types of architecture. According to a 19th century correspondent in the London Journal Notes and Queries:

There can be no doubt that the term 'Gothic' as applied to pointed styles of ecclesiastical architecture was used at first contemptuously, and in derision, by those who were ambitious to imitate and revive the Grecian orders of architecture, after the revival of classical literature. Authorities such as Christopher Wren lent their aid in deprecating the old mediæval style, which they termed Gothic, as synonymous with every thing that was barbarous and rude.^[3][4]

On 21 July 1710, the Académie d'Architecture met in Paris, and among the subjects they discussed, the assembled company noted the new fashions of bowed and cusped arches on chimneypieces being employed "to finish the top of their openings. The Company disapproved of several of these new manners, which are defective and which belong for the most part to the Gothic."^[5]

Influences

Regional

At the end of the 12th century Europe was divided into a multitude of city-states and kingdoms. The area encompassing modern Germany, The Netherlands, Belgium, Luxembourg, Switzerland, Austria, eastern France and much of northern Italy, excluding Venice, was nominally under the authority of the Holy Roman Empire, but local rulers exercised considerable autonomy. France, Spain and Sicily were independent kingdoms, as was England, whose Plantagenet kings ruled large domains in France.^[6] Norway came under the influence of England, while the other Scandinavian countries and Poland were influenced by Germany.

Throughout Europe at this time there was a rapid growth in trade and an associated growth in towns,^[7][7] especially in Germany and the Lowlands and in northern Italy. had large flourishing towns that grew in comparative peace, in trade and competition with each other, or united for mutual weal, as in the Hanseatic League. Civic building was of great importance to these towns as a sign of wealth and pride. England and France remained largely feudal and produced grand domestic architecture for their dukes, rather than grand town halls for their burghers.

Materials

A further regional influence was the availability of materials. In France, limestone was readily available in several grades, the very fine white limestone of Caen being favoured for sculptural decoration. England had coarse limestone, red sandstone as well as dark green Purbeck marble which was often used for architectural features.

In Northern Germany, Netherlands, Scandinavia, Baltic countries and northern Poland local building stone was unavailable but there was a strong tradition of building in brick. The resultant style, Brick Gothic, is called "Backsteingotik" in Germany and Scandinavia.

In Italy, stone was used for fortifications, but brick was preferred for other buildings. Because of the extensive and varied deposits of marble, many buildings were faced in marble, or were left with undecorated facades so that this might be achieved at a later date.

The availability of timber also influenced the style of architecture. It is thought that the magnificent hammer-beam roofs of England were devised as a direct response to the lack of long straight seasoned timber by the end of the Medieval period, when forests had been decimated not only for the construction of vast roofs but also for ship building.^[7][8]

Religious

The early Medieval period had seen a rapid growth in monasticism, with several different orders being prevalent and spreading their influence widely. Foremost were the Benedictines whose great abbey churches vastly outnumbered any others in England. Part of their influence was that they tended to build within towns, unlike the Cistercians whose ruined abbeys are seen in the remote countryside. The Cluniac and Cistercian Orders were prevalent in France, the great monastery at Cluny having established a formula for a well planned monastic site which was then to influence all subsequent monastic building for many centuries.

In the 13th century St. Francis of Assisi established the Franciscans, or so-called "Grey Friars", a mendicant order. Its off-shoot, the Dominicans, founded by St. Dominic in Toulouse and Bologna, were particularly influential in the building of Italy's Gothic churches.^[7][9]

Architectural

Gothic architecture grew out of the previous architectural genre, Romanesque. For the most part, there was not a clean break, as there was later to be in Renaissance Florence with the sudden revival of the Classical style by Brunelleschi in the early 15th century.

Romanesque tradition

Main article: Romanesque architecture

Romanesque architecture, or Norman architecture as it is generally termed in England because of its association with the Norman invasion, had already established the basic architectural forms and units that were to remain in slow evolution throughout the Medieval period. The basic structure of the cathedral church, the parish church, the monastery, the castle, the palace, the great hall and the gatehouse were all established. Ribbed vaults, buttresses, clustered columns, ambulatories, wheel windows, spires and richly carved door tympanums were already features of ecclesiastical architecture.^[10]

The widespread introduction of a single feature was to bring about the stylistic change that separates Gothic from Romanesque. This is the pointed arch. With its use came the development of many other features, previously put to the test in scattered buildings and then called into service to meet the structural, aesthetic and ideological needs of the new style. These include the flying buttresses, pinnacles and traceried windows which typify Gothic ecclesiastical architecture.^[7]

Islamic influence

The pointed arch had its origins in ancient Assyrian architecture where it occurs in a number of structures as early as 720 BC. It passed into Sassanian-Persian architecture and from the conquest of Persia in 641 AD, became a standard feature of Islamic architecture.^[7]

The Norman conquest of Sicily in 1090, the Crusades which began in 1096 and the Islamic presence in Spain all brought about a knowledge of this significant structural device. It is probable also that decorative carved stone screens and window openings filled with pierced stone also influenced Gothic tracery. In Spain in particular individual decorative motifs occur which are common to both Islamic and Christian architectural mouldings and sculpture.^[11][12]

Concurrent with its introduction and early use as a stylistic feature in French churches, it is believed that the pointed arch evolved naturally in Western Europe as a structural solution to a purely technical problem. (See below: Pointed arch, Origins)

Abbot Suger

Abbot Suger, friend and confidante of the French Kings, Louis VI and Louis VII, decided in about 1127, to rebuild the great Church of Saint-Denis, attached to an abbey which was also a royal residence.

Suger began with the West front, reconstructing the original Carolingian facade with its single door. He designed the façade of Saint-Denis to be an echo of the Roman Arch of Constantine with its three-part division and three large portals to ease the problem of congestion. The rose window is the earliest-known example above the West portal in France.

Leaving the Carolingian nave in use, Abbot Suger moved on to the eastern end. Inspired to create a physical representation of the Heavenly Jerusalem, Suger designed a choir (chancel) that would be suffused with light. To achieve his aim, he drew on the several new features which evolved or been introduced to Romanesque architecture, the pointed arch, the ribbed vault, the ambulatory with radiating chapels, the clustered columns supporting ribs springing in different directions and the flying buttresses which enabled the insertion of large clerestorey windows. In combining all these features within a single structure, Abbot Suger literally invented Gothic architecture.

The new structure was finished and dedicated on June 11, 1144, in the presence of the King. The Abbey of Saint-Denis thus became the proto-type for further building in the royal domain of northern France. A hundred years later, the old nave of Saint-Denis was rebuilt in the Gothic style, gaining, in its transepts, two spectacular rose windows.^[13]

Through the rule of the Angevin dynasty, the style was introduced to England and spread throughout France, the Low Countries, Germany, Spain and northern of Italy and Sicily.^[6][7]

Characteristics of Gothic churches and cathedrals

In Gothic architecture, new technology stands behind the new building style. That new technology was the ogival or pointed arch. Other characteristics developed as the consequence of the use of the pointed arch.

The Gothic style, when applied to an ecclesiastical building, emphasizes verticality and features almost skeletal stone structures with great expanses of glass, ribbed vaults, clustered columns, sharply pointed spires, flying buttresses and inventive sculptural detail such as gargoyles.

A Gothic cathedral or abbey was, prior to the 20th century, generally the landmark building in its town, rising high above all the domestic structures and often surmounted by one or more towers and perhaps spires.^[7][7]

Plan

Most Gothic churches, unless they are entitled chapels, are of the Latin cross plan, with a long nave making the body of the church, a transverse arm called the transept and beyond it, an extension which may be called the choir, chancel or presbytery. There are several regional variations on this plan.

The nave is generally flanked on either side by aisles, usually singly, but sometimes double. The nave is generally considerably taller than the aisles, having clerestorey windows which light the central space. Gothic churches of the Germanic tradition, like St. Stephen of Vienna, often have nave and aisles of similar height and are called hallenkirke. In the South of France there is often a single wide nave and no aisles, as at Sainte-Marie in Saint-Bertrand-de-Comminges.

In some churches with double aisles, like Notre Dame, Paris, the transept does not project beyond the aisles. In English cathedrals transepts tend to project boldly and there may be two of them, as at Salisbury Cathedral, though this is not the case with lesser churches.

The eastern arm shows considerable diversity. In England it is generally long and may have two distinct sections, both choir and presbytery. It is often square ended or has a projecting Lady Chapel, dedicated to the Virgin Mary. In France the eastern end is often polygonal and surrounded by a walkway called an ambulatory and sometimes a ring of chapels called a chevette. While German churches are often similar to those of France, in Italy, the eastern projection beyond the transept is usually just a shallow apsidal chapel containing the sanctuary, as at Florence Cathedral.^[7][7][13]

Height

A characteristic of Gothic church architecture is its height, both real and proportional. A section of the main body of a Gothic church usually shows the nave as considerably taller than it is wide. In England the proportion is sometimes greater than 2:1, while the extreme is reached at Cologne Cathedral with a ratio of 3.6:1. The extreme of actual internal height was achieved at Beauvais Cathedral at 157' 6".^[7]

Externally, towers and spires are characteristic of Gothic churches both great and small, the number and positioning being one of the greatest variables in Gothic architecture. In Italy, the tower, if present, is almost always detached from the building, as at Florence Cathedral, and is often from an earlier structure. In France and Spain, two towers on the front is the norm. In England, Germany and Scandinavia this is often the arrangement, but an English cathedral may also be surmounted by an enormous tower at the crossing. Smaller churches usually have just one tower, but this may also be the case at a very large cathedral like Salisbury or Ulm Cathedral, which has the tallest spire in the world,^[14] slightly exceeding that of Lincoln Cathedral, the tallest which was actually completed during the medieval period, at 527 feet (160 metres).

Vertical emphasis

The pointed arch lends itself to a suggestion of height. This appearance is characteristically further enhanced by both the architectural features and the decoration of the building.^[13]

On the exterior, the verticality is emphasised in a major way by the towers and spires and in a lesser way by strongly projecting vertical buttresses, by narrow half-columns called attached shafts which often pass through several storeys of the building, by long narrow windows, vertical mouldings around doors and figurative sculpture which emphasises the vertical and is often attenuated. The roofline, gable ends, buttresses and other parts of the building are often terminated by small pinnacles, Milan Cathedral being an extreme example in the use of this form of decoration.

On the interior of the building attached shafts often sweep unbroken from floor to ceiling and meet the ribs of the vault, like a tall tree spreading into branches. The verticals are generally repeated in the treatment of the windows and wall surfaces. In many Gothic churches, particularly in France, and in the Perpendicular period of English Gothic architecture, the treatment of vertical elements in gallery and window tracery creates a strongly unifying feature that counteracts the horizontal divisions of the interior structure.^[13]

Light

One of the most distinctive characteristics of Gothic architecture is the expansive area of the windows as at Sainte Chapelle and the very large size of many individual windows, as at Gloucester Cathedral and Milan Cathedral. The increase in size between windows of the Romanesque and Gothic periods is related to the use of the ribbed vault, and in particular, the pointed ribbed vault which channeled the weight to a supporting shaft with less outward thrust than a semicircular vault. Walls did not need to be so weighty.^[13][13]

A further development was the flying buttress which arched externally from the springing of the vault across the roof of the aisle to a large buttress projecting well beyond the line of the external wall. The internal columns of the arcade with their attached shafts, the ribs of the vault and the flying buttresses, with their associated vertical buttresses jutting at right-angles to the building, created a stone skeleton. Between these parts, the walls and the infill of the vaults could be of lighter construction. Between the narrow buttresses, the walls could be opened up into large windows.^[7]

Through the Gothic period, due to the versatility of the pointed arch, the structure of Gothic windows developed from simple openings to immensely rich and decorative sculptural designs. The windows were very often filled with stained glass which added a dimension of colour to the light within the building, as well as providing a medium for figurative and narrative art.^[13]

Majesty

The facade of a large church or cathedral, often referred to as the West Front, is generally designed to create a powerful impression on the approaching worshipper, demonstrating both the might of God, and the might of the institution that it represents. One of the best known and most typical of such facades is that of Notre Dame de Paris.

Central to the facade is the main portal, often flanked by additional doors. In the arch of the door is often a significant piece of sculpture, most frequently Christ in Majesty. If there is a central door jamb, then it frequently bears a statue of the Madonna and Child. There may be much other carving, often of figures in niches set into the mouldings around the portals, or in sculptural screens extending across the facade.

In the centre of the middle level of the facade, there is a large window, which in countries other than England and Belgium, is generally a rose window like that at Reims Cathedral The gable above this is usually richly decorated with arcading or sculpture, or in the case of Italy, may be decorated, with the rest of the facade, with polychrome marble and mosaic, as at Orvieto Cathedral

The West Front of a French cathedral and many English, Spanish and German cathedrals generally has two towers, which, particularly in France, express an enormous diversity of form and decoration.^[7][7]

Structure: the pointed arch

Origins

The defining characteristic of Gothic architecture is the pointed or ogival arch. Arches of this type were used in Islamic architecture before they were used structurally in European architecture, and are thought to have to been the inspiration for their use in France, as at Autun Cathedral, which is otherwise stylistically Romanesque.^[7]

However, it appears that there was probably simultaneously a structural evolution towards the pointed arch, for the purpose of vaulting spaces of irregular plan, or to bring transverse vaults to the same height as diagonal vaults. This latter occurs at Durham Cathedral in the nave aisles in 1093. Pointed arches also occur extensively in Romanesque decorative blind arcading, where semi-circular arches overlap each other in a simple decorative pattern, and the points are accidental to the design.

Functions

The Gothic vault, unlike the semi-circular vault of Roman and Romanesque buildings, can be used to roof rectangular and irregularly shaped plans such as trapezoids. The other structural advantage is that the pointed arch channels the weight onto the bearing piers or columns at a steep angle. This enabled architects to raise vaults much higher than was possible in Romanesque architecture.^[7]

While, structurally, use of the pointed arch gave a greater flexibility to architectural form, it also gave Gothic architecture a very different visual character to Romanesque, the verticality suggesting an aspiration to Heaven.

In Gothic Architecture the pointed arch is used in every location where a vaulted shape is called for, both structural and decorative. Gothic openings such as doorways, windows, arcades and galleries have pointed arches. Gothic vaulting above spaces both large and small is usually supported by richly molded ribs.

Rows of pointed arches upon delicate shafts form a typical wall decoration known as blind arcading. Niches with pointed arches and containing statuary are a major external feature. The pointed arch leant itself to elaborate intersecting shapes which developed within window spaces into complex Gothic tracery forming the structural support of the large windows that are characteristic of the style.^[13][13]

Basic shapes of Gothic arches and stylistic character

The way in which the pointed arch was draughted and utilised developed throughout the Gothic period. There were fairly clear stages of development, which did not, however, progress at the same rate, or in the same way in every country. Moreover, the names used to define various periods or styles within the Gothic differs from country to country.

Lancet arch

The simplest shape is the long opening with a pointed arch known in England as the lancet. Lancet openings are often grouped, usually as a cluster of three or five. Lancet openings may be very narrow and steeply pointed.

Salisbury Cathedral is famous for the beauty and simplicity of its Lancet Gothic, known in England as the Early English Style. York Cathedral has a group of lancet windows each fifty feet high and still containing ancient glass. They are known as the Five Sisters. These simple undecorated grouped windows are found at Chartres and Laon Cathedrals and are used extensively in Italy.^[7][14]

Equilateral arch

Many Gothic openings are based upon the equilateral form. In other words, when the arch is draughted, the radius is exactly the width of the opening and the centre of each arch coincides with the point from which the opposite arch springs. This makes the arch higher in relation to its width than a semi-circular arch which is exactly half as high as it is wide.^[7]

The Equilateral Arch gives a wide opening of satisfying proportion useful for doorways, decorative arcades and big windows.

The structural beauty of the Gothic arch means, however, that no set proportion had to be rigidly maintained. The Equilateral Arch was employed as a useful tool, not as a Principle of Design. This meant that narrower or wider arches were introduced into a building plan wherever necessity dictated. In the architecture of some Italian cities, notably Venice, semi-circular arches are interspersed with pointed ones.^[15]

The Equilateral Arch lends itself to filling with tracery of simple equilateral, circular and semi-circular forms. The type of tracery that evolved to fill these spaces is known in England as Geometric Decorated Gothic and can be seen to splendid effect at many English and French Cathedrals, notably Lincoln and Notre Dame in Paris. Windows of complex design and of three or more lights or vertical sections, are often designed by overlapping two or more equilateral arches.^[14]

Flamboyant arch

The Flamboyant Arch is one that is draughted from four points, the upper part of each main arc turning upwards into a smaller arc and meeting at a sharp, flame-like point. These arches create a rich and lively effect when used for window tracery and surface decoration. The form is structurally weak and has very rarely been used for large openings except when contained within a larger and more stable arch. It is not employed at all for vaulting.^[7]

Some of the most beautiful and famous traceried windows of Europe employ this type of tracery. It can be seen at St Stephen's Vienna, Sainte Chapelle in Paris, at the Cathedrals of Limoges and Rouen in France, and at Milan Cathedral in Italy. In England the most famous examples are the West Window of York Minster with its design based on the Sacred Heart, the extraordinarily rich seven-light East Window at Carlisle Cathedral and the exquisite East window of Selby Abbey.^[13][14]

Doorways surmounted by Flamboyant mouldings are very common in both ecclesiastical and domestic architecture in France. They are much rarer in England. A notable example is the doorway to the Chapter Room at Rochester Cathedral.^[7][14]

The style was much used in England for wall arcading and niches. Prime examples in are in the Lady Chapel at Ely, the Screen at Lincoln and externally on the facade of Exeter Cathedral. In German and Spanish Gothic architecture it often appears as openwork screens on the exterior of buildings. The style was used to rich and sometimes extraordinary effect in both these countries, notably on the famous pulpit in Vienna Cathedral.^[7]

Depressed arch

The Depressed or four-centred arch is much wider than its height and gives the visual effect of having been flattened under pressure. Its structure is achieved by draughting two arcs which rise steeply from each springing point on a small radius and then turn into two arches with a wide radius and much lower springing point.^[7]

This type of arch, when employed as a window opening, lends itself to very wide spaces, provided it is adequately supported by many narrow vertical shafts. These are often further braced by horizontal transoms. The overall effect produces a grid-like appearance of regular, delicate, rectangular forms with an emphasis on the perpendicular. It is also employed as a wall decoration in which arcade and window openings form part of the whole decorative surface.

The style, known as Perpendicular, that evolved from this treatment is specific to England, although very similar to contemporary Spanish style in particular, and was employed to great effect through the fifteenth century and first half of the sixteenth as Renaissance styles were much slower to arrive in England than in Italy and France.^[7]

It can be seen notably at the East End of Gloucester Cathedral where the East Window is said to be as large as a tennis court. There are three very famous royal chapels and one chapel-like Abbey which show the style at its most elaborate- King's College Chapel, Cambridge; St George's Chapel, Windsor; Henry VII's Chapel at Westminster Abbey and Bath Abbey.^[14] However very many simpler buildings, especially churches built during the wool boom in East Anglia, are fine examples of the style.

Symbolism and ornamentation

Main articles: Cathedral architecture of Western Europe and Poor Man's Bible

The Gothic cathedral represented the universe in microcosm and each architectural concept, including the loftiness and huge dimensions of the structure, were intended to convey a theological message: the great glory of God. The building becomes a microcosm in two ways. Firstly, the mathematical and geometrical nature of the construction is an image of the orderly universe, in which an underlying rationality and logic can be perceived.

Secondly, the statues, sculptural decoration, stained glass and murals incorporate the essence of creation in depictions of the Labours of the Months and the Zodiac^[16] and sacred history from the Old and New Testaments and Lives of the Saints, as well as reference to the eternal in the Last Judgment and Coronation of the Virgin. The decorative schemes usually incorporated Biblical stories, emphasizing visual typological allegories between Old Testament prophecy and the New Testament.^[7]

Many churches were very richly decorated, both inside and out. Sculpture and architectural details were often bright with coloured paint of which traces remain at Chartres cathedral. Wooden ceilings and panelling were usually brightly coloured. Sometimes the stone columns of the nave were painted, and the panels in decorative wall arcading contained narratives or figures of saints. These have rarely remained intact, but may be seen at the Chapterhouse of Westminster Abbey.^[14]

Some important Gothic churches could be severely simple such as the Basilica of Mary Magdalene in Saint-Maximin, Provence where the local traditions of the sober, massive, Romanesque architecture were still strong.

Regional differences

Main article: Cathedral architecture of Western Europe

Wherever Gothic architecture is found, it is subject to local influences, and frequently the influence of itinerant stonemasons and artisans, carrying ideas between cities and sometimes between countries. Certain characteristics are typical of particular regions and often override the style itself, appearing in buildings hundreds of years apart.

France

Main article: French Gothic architecture

The distinctive characteristic of French cathedrals, and those in Germany and Belgium that were strong influenced by them, is their height and their impression of verticality. Each French cathedral tends to be stylistically unified in appearance when compared with an English cathedral where there is great diversity in almost every building. They are compact, with slight or no projection of the transepts and subsidiary chapels. The west fronts are highly consistent, having three portals surmounted by a rose window, and two large towers. Sometimes there are additional towers on the transept ends. The east end is polygonal with ambulatory and sometimes a chevette of radiating chapels. In the south of France, many of the major churches are without transepts and some are without aisles.^[7]

England

Main article: English Gothic architecture

The distinctive characteristic of English cathedrals is their extreme length and their internal emphasis upon the horizontal, which may be emphasised visually as much or more than the vertical lines. Each English cathedral (with the exception of Salisbury) has an extraordinary degree of stylistic diversity, when compared with most French, German and Italian cathedrals. It is quite normal for every part of the building to have been built in a different century and in a different style, with no attempt at creating a stylistic unity. Unlike French cathedrals, English cathedrals sprawl across their sites, with double transepts projecting strongly and Lady Chapels tacked on at a later date. In the west front, the doors are not as significant as in France, the usual congregational entrance being through a side porch. The West window is very large and never a rose, which are reserved for the transept gables. The west front may have two towers like a French Cathedral, or none. There is nearly always a tower at the crossing and it may be very large and surmounted by a spire. The distinctive English east end is square, but it may take a completely different form.^[7][14]

Germany and the Holy Roman Empire

Main article: Gothic architecture in Germany

Romanesque architecture in Germany is characterised by its massive and modular nature. This is expressed in the Gothic architecture of the Holy Roman Empire in the huge size of the towers and spires, often proposed, but not always completed.^[17] The west front generally follows the French formula, but the towers are very much taller, and if complete, are surmounted by enormous openwork spires that are a regional feature. Because of the size of the towers, the section of the facade that is between them may appear narrow and compressed. The eastern end follows the French form. The distinctive character of the interior of German Gothic cathedrals is their breadth and openness. This is the case even when, as at Cologne, they have been modelled upon a French cathedral. German cathedrals, like the French, tend not to have strongly projecting transepts. There are also many hallenkirke without clerestorey windows.^[7][13]

Spain

Main article: Spanish Gothic architecture

The distinctive characteristic of Spanish Gothic cathedrals is their spacial complexity, with many areas of different shapes leading from each other. They are comparatively short and wide, and are often completely surrounded by chapels. Like English Cathedrals, Spanish Cathedrals are stylistically diverse. This expresses itself in the addition of chapels and in the application of decorative details drawn from different sources. Among the influences on both decoration and form are Islamic architecture, and towards the end of the period, Renaissance details combined with the Gothic in a distinctive manner. The West front, as at Leon Cathedral typically resembles a French west front, but wider in proportion to height and often with greater diversity of detail and a combination of intricate ornate with broad plain surfaces. At Burgos Cathedral there are spires of German style. The roofline often has parapets with few pinnacles. There is often towers and domes of a great variety of shapes and structural invention rising above the roof.^[7]

Italy

Main article: Gothic architecture in Italy

The distinctive characteristic of Italian Gothic is the use of polychrome decoration, both externally as marble veneer on the brick facade and also internally where the arches are often made of alternating black and white segments, and where the columns may be painted red, the walls decorated with frescoes and the apse with mosaic. The plan is usually regular and symmetrical. With the exception of Milan Cathedral which is Germanic in style, Italian cathedrals have few and widely spaced columns. The proportions are generally mathematically simple, based on the square, and except in Venice where they loved flamboyant arches, the arches are almost always equilateral. Colours and moldings define the architectural units rather than blending them. Italian cathedral facades are often polychrome and may include mosaics in the lunettes over the doors. The facades have projecting open porches and occular or wheel windows rather than roses, and do not usually have a tower. The crossing is usually surmounted by a dome. There is often a free-standing tower and baptistry. The eastern end usually has an apse of comparatively low projection. The windows are not as large as in northern Europe and, although stained glass windows are often found, the favourite narrative medium for the interior is the fresco.^[7]

Secular Gothic architecture

See also Castles.

Many examples of secular, non-military structures in Gothic style survive in fairly original condition. The Palais des Papes in Avignon is the best complete large royal palace, with partial survivals in the great hall at the Palace of Westminster, London, an 11th century hall renovated in the late 1300s with gothic windows and a wooden hammerbeam roof, and the famous Conciergerie, former palace of the kings of France, in Paris. In addition to monumental secular architecture, examples of the Gothic style, can be seen in surviving medieval portions of cities across Europe, above all the distinctive Venetian Gothic. The house of the wealthy early 15th century merchant Jacques Coeur in Bourges, is the classic Gothic bourgeois mansion, full of the asymmetry and complicated detail beloved of the Gothic Revival.^[18] Other cities with a concentration of secular Gothic include Bruges and Sienna. Most surviving small secular buildings are relatively plain and straightforward; most windows are flat-topped with mullions, with pointed arches and vaulted ceilings often only found at a few focal points. The country-houses of the nobility were slow to abandon the appearance of being a castle, even in parts of Europe, like England, where defence had ceased to be a real concern. The living and working parts of many monastic buildings survive, for example at Mont Saint-Michel.

There are many excellent examples of secular Gothic buildings in brick, notably Malbork, a castle of the Teutonic Knights in Poland. Brick Gothic buildings were associated with the Hanseatic League and the Teutonic Knights. There are over one hundred brick Gothic castles in northern Poland, Baltic states, and western Russia, and many smaller buildings.

Gothic survival and revival

Main article: Gothic revival architecture

In 1663 at the Archbishop of Canterbury's residence, Lambeth Palace, a Gothic hammerbeam roof was built to replace that destroyed when the building was sacked during the English Civil War. Also in the late 17th century, some discrete Gothic details appeared on new construction at Oxford and Cambridge, notably on the Tom Tower at Christ Church College, Oxford, by Christopher Wren. It is not easy to decide whether these instances were Gothic survival or early appearances of Gothic revival.

In England in the mid-eighteenth century, the Gothic style was more widely revived, first as a decorative, whimsical alternative to Rococo that is still conventionally termed 'Gothick', of which Horace Walpole's Twickenham villa "Strawberry Hill" is the familiar example.

19th and 20th century Gothic Revival

Main article: Gothic Revival

Partly in response to a philosophy propounded by the Oxford Movement and others in England, from about 1830 Gothic became the preferred style for ecclesiastical, civic and institutional architecture, resulting in a Gothic revival, sometimes termed Victorian Gothic or Neo-Gothic. The Houses of Parliament in London are an example of this Gothic revival style, designed by Sir Charles Barry with interiors by a major exponent of the early Gothic Revival, Augustus Welby Pugin. Neo-Gothic was often applied to university buildings such as the main building of the University of Glasgow designed by Sir George Gilbert Scott. Gothic was also widely used in upper and middle-class housing, and Gothic details often appear even in working-class housing, especially if subsidised by philanthropy.

In France, simultaneously, the towering figure of the Gothic Revival was Eugène Viollet-le-Duc, who outdid historical Gothic constructions to create a Gothic as it ought to have been, notably at the fortified city of Carcassonne in the south of France and in some richly fortified keeps for industrial magnates. Viollet-le-Duc compiled and coordinated an Encyclopédie médiévale that was a rich repertory his contemporaries mined for architectural details. He effected vigorous restoration of crumbling detail of French cathedrals, including the Abbey of Saint-Denis and famously at Notre Dame, where many of whose most "Gothic" gargoyles are Viollet-le-Duc's. He taught a generation of reform-Gothic designers and showed how to apply Gothic style to modern structural materials, especially cast iron.

In Germany, the great cathedrals of Cologne and Ulm, left unfinished for 600 years, were brought to completion, while in Italy, Florence Cathedral finally received its polychrome Gothic facade. New churches in the Gothic style were created all over the world, including Japan, Thailand, India, Australia, New Zealand, Hawaii and South Africa.

As in Europe, the United States, Canada, Australia and New Zealand utilised Neo-Gothic for the building of universities, a fine example being Sydney University by Edmund Blacket. In Canada, the Canadian Parliament Buildings in Ottawa designed by Thomas Fuller and Chilion Jones with its huge centrally-placed tower draws influence from Flemish Gothic buildings.

Although falling out of favour for domestic and civic use, Gothic for churches and universities continued into the 20th century with buildings such as Liverpool Cathedral and the Cathedral of Saint John the Divine, New York. The Gothic style was also applied to iron-framed city skyscapers such as Cass Gilbert's Woolworth Building and Raymond Hood's Tribune Tower.

Post-Modernism in the late 20th and early 21st centuries has seen some revival of Gothic forms in individual buildings, such as the Gare do Oriente in Lisbon, Portugal.

See also

• List of Gothic architecture
• Cathedral architecture of Western Europe, this article details the development of cathedral buildings to suit their liturgical and traditional functions, and compares the regional differences between cathedrals of Italy, France, England, Germany and Spain, with brief comments about 12 other countries.

• French Gothic architecture
• English Gothic architecture
• Italian Gothic architecture
• Spanish Gothic architecture
• Portuguese Gothic architecture
• Polish Gothic architecture
• Medieval architecture
• Middle Ages in history
• Renaissance of the 12th century
• Architectural history
• Architectural style
• Gothic Revival
• Sondergotik
• Hawaiian Gothic Architecture
• Gargoyle

Gallery

		Antwerp
Ypres	Roskilde Dom Denmark	le Mans
	front
		Tower vault
	I.Rickmann

Notes

References

• Boney, Jean (1985). French Gothic Architecture of the Twelfth and Thirteenth Centuries. ISBN 0-520-05586-1. 
• Bumpus, T. Francis (1928). The Cathedrals and Churches of Belgium. T. Werner Laurie. 
• Clifton-Taylor, Alec (1967). The Cathedrals of England. Thames and Hudson. 
• Fletcher, Banister (2001). A History of Architecture on the Comparative method. Elsevier Science & Technology. ISBN 0-7506-2267-9. 
• Gardner, Helen; Fred S. Kleiner, Christin J. Mamiya (2004). Gardner's Art through the Ages. Thomson Wadsworth. ISBN 0-15-505090-7. 
• Harvey, John (1950). The Gothic World, 1100–1600. Batsford. 
• Harvey, John (1961). English Cathedrals. Batsford. 
• Holbeche Bloxam, Matthew (1841). Gothic Ecclesiastical Architecture, Elucidated by Question and Answer. from Project Gutenberg]
• Huyghe, Rene (ed.) (1963). Larousse Encyclopedia of Byzantine and Medieval Art. Paul Hamlyn. 
• Icher, Francois (1998). Building the Great Cathedrals. Harry N. Abrams. ISBN 0-8109-4017-5. 
• Pevsner, Nikolaus (1964). An Outline of European Architecture. Pelican Books. 
• Summerson, John (1983). in Pelican History of Art: Architecture in Britain, 1530–1830. ISBN 0-14-0560-03-3. 
• Swaan, Wim (1988). The Gothic Cathedral. Omega Books. ISBN 0-9078593-48-X. 
• Swaan, Wim. Art and Architecture of the Late Middle Ages. Omega Books. ISBN 0-907853-35-8. 
• Tatton-Brown, Tim; John Crook (2002). The English Cathedral. New Holland Publishers. ISBN 1-84330-120-2. 
• von Simson, Otto Georg (1988). The Gothic cathedral: origins of Gothic architecture and the medieval concept of order. ISBN 0-691-09959-6. 
• Moore, Charles (1890). Development & Character of Gothic Architecture. Macmillan and Co.. 

External links

• GothicMed. A virtual museum of Mediterranean Gothic architecture
• Photographs of 500 gothic and romanesque churches