HOA 04 Module 5: Gothic Architecture

Section A | Sem 4 | Batch 2021

WCFA, Mysuru | Faculty: Asst. Prof. Shashank Satish
The Birth of Gothic:

After centuries of invasion, war and destruction, in the twelfth century the
West settled down to a period of relative peace and stability and centres of
learning developed in cathedral cities. The crusades halted Arab expansion
and allowed safer travel in southern Europe and the Holy Land. Attention
turned again to the intellectual achievements of Rome, preserved in
monastic libraries. Latin, still a living language, was purified by a revival of
the literature of antiquity, and the science and philosophy of the ancient
authors became the cornerstone of education. Wealthy and sophisticated
clerics, visiting the classical churches of Rome and Constantine's
monuments in the Holy Land, saw their own churches, with their massive
piers, crude decoration and squat interiors, as barbaric.

The intervening centuries had not destroyed the spell of Rome, but the
unbroken continuity of civilization had been lost. The sense of the progress
of history had gone and artists innocently depicted ancient figures in
modern dress. Superstition and a mystic form of Christianity turned minds
to a cryptic world of symbol and myth which gained a reality equal to the
physical world. When the builders of cathedrals sought to recreate ancient
buildings they had no interest in exact reproduction, but duplicated symbolic
dimensions and numbers of architectural features.
Romanesque Basilica of Saint-Sernin,
church in Toulouse, France, 1120.
The medieval French term for this new
architecture was style ogivale, “pointed-arch
style,” to identify the new technique being used;
the modern term Gothic is a later, derogatory
expression invented by fifteenth century Italian
writers to suggest the “barbarism” of such
medieval architecture.

Gothic architecture is largely an urban

architecture. The great monuments documenting
the rise of Gothic architecture are not primarily
isolated monasteries or pilgrimage churches but
urban cathedrals, building projects initiated by
influential urban bishops and paid for by wealthy
urban businessmen and craft guilds.
In eastern France in 1089, Cluny, the headquarters of the powerful order of
Cluniac monks, was rebuilt to rival St Peter's in Rome. The new building was
rich in classical decoration but included an early example of the pointed arch,
copied from Arab buildings seen in Sicily, Spain or the Holy Land.

The difference between these arches and round Roman arches was not
regarded as significant and the fashion for pointed arches spread. At this time
the rich Cluniac bishops of northern France were asking their architects to
open up the walls of their churches for large areas of stained glass to cast a
mystic light on elegant internal rows of classical columns. To achieve this
architects reduced the weight of stone vaults by crossing arches diagonally
between columns. These arches, or ribs, then pushed the weight they carried
outwards to half-arches, or flying buttresses, leaning against the outside walls.

Remarkable structural improvements were developed which, together with the

constructional advantages discovered in pointed arches enabled architects to
create higher and higher buildings with ever larger windows. As the structure
improved from Noyon Cathedral (b) to Laon (c) the unbroken row of columns,
such as those found in late Roman churches, was finally achieved.

By the end of the century, the Latin revival was over. In the cathedrals the
structural innovations had opened up new opportunities. At Chartres
Cathedral (d) the classical ideal was overwhelmed by height and glass.
Medieval architecture now had its own style for inspiration, but it was a style
born of a clouded vision of Rome.
Gothic Architecture: An Architecture of Aspiration

Despite the rise of cities as economic and political centers in the Gothic
period and the resultant flourishing of secular life in the growing cities,
people’s essential concern in earthly life remained gaining the
assurance of heaven. Accordingly, the building of great urban
cathedrals, driven by swaggering civic pride combined with sincere
religious piety, provided the arena of the most probing architectural
experimentation. The Gothic architecture of town halls and private
residences was based on forms developed for the cathedral, and the
result was an urban form of organic integration, rising in vertical lines.

The Gothic Cathedral:

The Gothic cathedral was yet another by-product of the Crusades, for
when the first Crusaders saw Constantinople on their way to the Holy
Land, they marveled at the size and wealth of the city and the vast scale
and splendor of Hagia Sophia. There was nothing to compare with either
that city or Justinian’s vast church in England, France, or anywhere else
in Europe. It is no mere coincidence that the great wave of cathedral
building started shortly after the First Crusade ended and the Crusaders
returned home.
Gothic architecture evolved over several centuries, starting in the 12th century and lasting until the 16th century. It originated
in France and spread throughout Europe, becoming the dominant architectural style for large religious and civic buildings
during the medieval period. The evolution of Gothic architecture can be divided into three main phases: Early Gothic, High
Gothic, and Late Gothic.

Early Gothic (12th-13th century): The Early Gothic period, also known as the "First Gothic" or "Lancet" style,
emerged in the 12th century. It was characterized by pointed arches, ribbed vaults, and the extensive use of stained
glass windows. The walls were thinner and taller compared to the earlier Romanesque architecture, and the buildings
featured large rose windows and decorative sculptures. Examples of Early Gothic architecture include the Basilica of
Saint-Denis in France and the Chartres Cathedral.

High Gothic (13th century): The High Gothic period marked a significant advancement in architectural techniques
and design. It is often referred to as the "Rayonnant" style. Buildings became more elaborate and intricate, with an
increased emphasis on verticality and light. The pointed arches became more elongated, and the ribbed vaults
reached greater heights. Flying buttresses were developed to support the walls and allow for larger windows. Notable
examples of High Gothic architecture include Notre-Dame Cathedral in Paris and the Sainte-Chapelle.

Late Gothic (14th-16th century): The Late Gothic period, also known as the "Flamboyant" style, emerged in the 14th
century and lasted until the 16th century. This phase saw further innovations and decorative elements added to the
Gothic style. Buildings became more ornate, with intricate tracery and flamboyant window designs. The emphasis on
verticality continued, with spires and pinnacles reaching even greater heights. Examples of Late Gothic architecture
include the Cologne Cathedral in Germany and the Palais des Papes in Avignon, France.
Basilica of Saint-Denis in France
A Rib vault or ribbed vault is an architectural feature for
covering a wide space, such as a church nave, composed
of a framework of crossed or diagonal arched ribs. A rib
vault is supported by a series of arched diagonal ribs that
divide the vault's surface into panels.
Thin stone panels fill the space between the ribs.
This greatly reduced the weight and thus the
outward thrust of the vault. The ribs transmit the
load downward and outward to specific points,
usually rows of columns or piers. This feature
allowed architects of Gothic cathedrals to make
higher and thinner walls and much larger windows.
Tracery is an architectural device by which windows (or screens, panels, and
vaults) are divided into sections of various proportions by stone bars or ribs of
moulding. Most commonly, it refers to the stonework elements that support the
glass in a window. The purpose of the device is practical as well as decorative,
because the increasingly large windows of Gothic buildings needed maximum
support against the wind.

Rose Window: rose window, also

called wheel window, in Gothic
architecture, decorated circular window,
often glazed with stained glass.
A buttress is a structure built against another structure in
order to strengthen or support it. Historically, buttresses
have been used to strengthen large walls or buildings such
as churches.

Flying buttress, masonry structure typically consisting of

an inclined bar carried on a half arch that extends (“flies”)
from the upper part of a wall to a pier some distance away
and carries the thrust of a roof or vault.

Flying buttresses consist of an inclined beam carried on a

half arch that projects from the walls of a structure to a pier
which supports the weight and horizontal thrust of a roof,
dome or vault. This thrust is carried by the flying buttress
away from the building and down the pier to the ground.
The pier is frequently crowned by a pyramidal or conical
ornament known as the pinnacle, which helps to add weight
and improve stability.

The balancing of forces by the addition of flying buttresses

has enabled buildings to become much taller and more
elaborate. They are a common feature of Gothic
architecture and are often found in medieval cathedrals.
Pinnacle is an architectural element originally forming
the cap or crown of a buttress or small turret, but
afterwards used on parapets at the corners of towers
and in many other situations. The pinnacle looks like a
small spire. It was mainly used in Gothic architecture.
The pinnacle had two purposes:
1. Ornamental – adding to the loftiness and verticity of
the structure. They sometimes ended with statues,
such as in Milan Cathedral.
2. Structural – the pinnacles were very heavy and
often rectified with lead, in order to enable the flying
buttresses to contain the stress of the structure vaults
and roof. This was done by adding compressive stress
(a result of the pinnacle weight) to the thrust vector
and thus shifting it downwards rather than sideways.
Chartres Cathedral, France
Partly built starting in 1145, and then reconstructed over a 26-year period after the fire of 1194, Chartres Cathedral marks
the high point of French Gothic art. Built of limestone, is around 34 m high and 130 m long internally.

West Facade: The west facade of Chartres Cathedral is a grand entrance featuring three deep portals with elaborately
sculpted tympana and archivolts. The central portal, known as the Royal Portal, is particularly remarkable, with sculptures
depicting biblical scenes and figures. Notably, the two towers form an are asymmetrical elevation with pyramidal spires of
different ornamentations within gothic styles. The West facade also boasts the grand Rose Window that illuminates the
interiors with colored light.

North and South Towers: Chartres Cathedral has two asymmetrical towers on its west facade. The north tower reaches a
height of approximately 105 meters (344 feet). The south tower is slightly shorter.

Stained Glass Windows: Chartres Cathedral is renowned for its exquisite stained glass windows, considered some of the
finest in the world. The windows date back to the 12th and 13th centuries and cover a vast area of the cathedral. The most
famous window is the "Blue Virgin" window, which depicts the Virgin Mary and the Child Jesus.

A Tympanum is the semi-circular or triangular decorative wall surface over an

entrance, door or window, which is bounded by a lintel and an arch. It often contains
pedimental sculpture or other imagery or ornaments. Many architectural styles include
this element.

An archivolt (or voussure) is an ornamental moulding or band following the curve on

the underside of an arch.
 Rose
Windows
Triforium: the middle horizontal band of the interior Clerestory, clearstory, clearstorey, or overstorey is a
façade. Triforium is characterized by repeated iterations high section of wall that contains windows above eye
of three, symbolizing the Trinity. level. Its purpose is to admit light, fresh air, or both.

Interior: It has a four-bay choir with double aisles and a double ambulatory with six radiating chapels, of which three
are shallow and three, reflecting the surviving crypt chapels, are deeper. The transepts have three bays with east
and west aisles; the six-bay nave has single aisles and a western block with two towers.

Flying Buttresses: Like many Gothic cathedrals, Chartres Cathedral features flying buttresses that provide
structural support to the building. These buttresses are located on the exterior of the cathedral, allowing for large,
intricate stained glass windows in the nave and aisles.

Nave and Choir: The interior of Chartres Cathedral consists of a long nave with double aisles and a choir. The nave
is characterized by its lofty height and slender columns with decorative capitals. The choir area, located at the
eastern end of the cathedral, is adorned with a stunning high altar and beautifully carved wooden choir stalls.

Sculptures: The exterior and interior of Chartres Cathedral are adorned with numerous sculptures depicting biblical
scenes, saints, and other religious figures. These sculptures can be found on the portals, capitals, and various
architectural elements throughout the cathedral.
Notre-Dame, Paris.
The cathedral is roughly 128 metres
(420 ft) in length, and 12 metres (39 ft)
wide in the nave. Its cruciform plan,
elevated nave, transept and tower
were borrowed from 11th-century
Romanesque architecture, but its
pointed arches and rib vaulting were
strictly Gothic. Indeed, it was one of
the first Gothic cathedrals to have
arched exterior supports known as
"flying buttresses". These were not
incorporated into the initial architecture
of the building, but were included when
stress fractures began to appear in the
thin upper walls as they cracked under
the weight of the vault. In addition to
the flying buttresses, over a dozen
supporting piers were constructed to
support the exterior walls and
counteract the lateral thrust of the nave
vaulting.
Notre-Dame is also famous for its external
statues and gargoyles arranged around the
outside to serve as extra column supports and
drainage pipes. As Gothic building designers
hoped, the additional reinforcement provided
by the buttresses, piers and other stone
supports enabled the main walls of the
cathedral to become non-structural, and thus a
greater wall area was available for stained
glass, in order to inspire worshippers and
illuminate the cathedral's interior.

Notre-Dame's stern facade is decorated with a

mass of stone sculpture, notably around the
central portal, which is flanked by statues
depicting The Last Judgment. The facade
design balances the verticality of the twin
towers (69 metres in height) with the horizontal
banding of the decorated galleries. This
produces a simple but powerful western
elevation, which dominates the square in front.
The cathedral was built in parts; the
choir area from 1163 to 1177 CE, the
high altar finished in 1218 CE, the
transepts and nave by 1208 CE, and
the western façade and finishing details
all finally completed by 1240 CE. Over
the years, many different architects
worked on the design of the building
resulting in distinctive styles and
heights of different sections and towers.
Notre-Dame Cathedral consists of a
choir and apse, a short transept, and a
nave flanked by double aisles and
square chapels in plan.

Two massive early Gothic towers (1210–50) crown the western facade, which is divided into three stories and has its doors
adorned with fine early Gothic carvings and surmounted by a row of figures of Old Testament kings. The two towers are 223
feet (68 metres) high on the west facade. At the cathedral’s east end, the apse has large clerestory windows (added
1235–70) and is supported by single-arch flying buttresses.

The cathedral’s three great rose windows alone retain their 13th-century glass. These were not incorporated into the initial
architecture of the building, but were included when stress fractures began to appear in the thin upper walls as they cracked
under the weight of the vault. In addition to the flying buttresses, over a dozen supporting piers were constructed to support
the exterior walls and counteract the lateral thrust of the nave vaulting.
The interior of the cathedral is 427 by 157 feet (130 by 48
metres) in plan, and the roof is 115 feet (35 metres) high.

The height of the nave and the relative thinness of its

walls (1 meter on average) demanded the placement of
exterior buttresses to counter the lateral thrust of the vault.
Thanks to the vault, the loads are concentrated in specific
points, the pillars, allowing the wall to open up and be
filled up by large glass surfaces.

Externally, aside from the exposed and increasingly thin

flying buttresses, the major changes in the Gothic
cathedral included dramatic vertical towers.

Further strengthening the sensation of height is the

infusion of light in the Gothic cathedral, for the upper
walls dissolve in light. There are, in fact, no true upper
walls but rather the series of slender piers carrying an
umbrella of stone vaults; between the piers are the large
panels of stained glass, through which passes an
ethereal light, casting soft-edged colored patterns on the
stone piers, arcades, and floor below.
Notre-Dame Cathedral, located in Paris, France, is renowned for its magnificent Gothic architecture and rich historical
significance. Here are some of its notable architectural features:

Gothic Design: Notre-Dame Cathedral is a prime example of French Gothic architecture. It features pointed arches,
ribbed vaults, and flying buttresses. Gothic architecture is characterized by its emphasis on height, light, and verticality.
Western Façade: The western façade of Notre-Dame is an iconic feature of the cathedral. It consists of three main
portals: the Portal of the Virgin, the Portal of the Last Judgment, and the Portal of Saint Anne. Each portal is adorned
with intricate sculptures depicting biblical scenes and figures.
Rose Windows: Notre-Dame is famous for its stunning stained glass rose windows. The cathedral has three rose
windows, with the largest located on the western façade, known as the Rose Window of the Last Judgment. The other
two rose windows are located on the north and south transepts.
Towers and Spire: The cathedral is flanked by two square towers on its western front. Each tower is approximately 69
meters (226 feet) tall and provides a breathtaking panoramic view of Paris. In the past, Notre-Dame had a spire at the
center of the crossing, but it was destroyed in a fire in 2019. The spire is currently being rebuilt.
Flying Buttresses: Notre-Dame is famous for its flying buttresses, which are exterior support arches that help distribute
the weight of the building. These flying buttresses are notable for their elegance and functionality. They allow for large
stained glass windows to be incorporated into the walls, creating a sense of lightness and grandeur.
Interior: The interior of Notre-Dame Cathedral features a nave with a double aisle on each side, leading to the choir and
the ambulatory. The nave is characterized by its lofty height, reaching approximately 33 meters (108 feet). The interior
also houses numerous chapels, statues, and ornate decorations.
Gargoyles: Notre-Dame is adorned with numerous gargoyles and chimera statues. Gargoyles are grotesque figures
that serve as decorative waterspouts to channel rainwater away from the building. Chimera statues are mythical
creatures that are purely ornamental.
The coronation of Napoleon, on 2 December 1804 at Notre-Dame
The Palais des Papes. France.
The palace of the Popes: Once a fortress and palace, the papal residence was a seat of Western Christianity during the 14th century.
Domestic and Public Architecture:

With the rise of cities and the accumulation of private bourgeois wealth, a
new urban residential architecture emerged. Adjacent to the cathedrals
appeared the houses of the bishop and archbishop and the residences of the
clergy associated with the operation of the cathedral. These buildings often
enclosed in an irregular way (as in front of the cathedral at Noyon) a plaza
that was the site of fairs and religious plays. Early cities sprang up around
monasteries, and the rich and active monastery at Cluny had many houses
built around it in the twelfth century. Although the facades of some of these
survive, the interiors often have been rebuilt many times. Viollet-le-Duc was
able to reconstruct a typical house plan. It had a large shop room on the
ground floor opening to the street by means of a broad, arched window-wall.
Behind this commercial space was a court, and behind that, the kitchen. On
the upper level were the living quarters, with a combined living-dining room
and a bedroom in front overlooking the street, an open court to the rear, and
a rear bedroom over the kitchen. The third floor had sleeping quarters for
apprentices and storage for merchandise and supplies.
Just as cities became a new driving force in late medieval
culture, so too did merchants increase the scope of their
business, becoming bankers and money brokers. Merchant
bankers became the new patrons of architecture, and the
late buildings of the Middle Ages were buildings they
commissioned their residences, guild halls, and town halls.
The large house of Jacques Coeur in Bourges illustrates
this new urban type well. Jacques Coeur (1395–1456), the
son of a furrier, was born in Bourges, a cloth-producing city
in the virtual center of France. He became a merchant and,
eventually, one of the most important businessmen in
France as a result of his international trading contacts. His
operations included trading exchanges for cloth, silk,
jewels, armor, spices, salt, wheat, and wool, with
warehouses across France, Belgium, Scotland, and Italy
supplied by his own fleet of merchant ships.
Jacques built a magnificent house for his family in
Bourges, purchasing a portion of the old defensive walls
of the city and adding wings that wrapped around a
commodious court open to the street. Although
constructed in one building campaign, the parts of the
house present an irregularity of plan and profile, a
flexibility and freedom of delicate ornament that suggest
numerous additions over time. The house had public
rooms and galleries on the ground floor, with large
kitchens and an equally large general dining room. The
family’s private chambers were on the second floor and
included a richly embellished private chapel.
The House of Jacques Coeur, located in Bourges, France, is a historic mansion built in the 15th century for Jacques Coeur, a
wealthy French merchant and financier.

Architectural Features:

Pointed Arches: Gothic architecture is known for its

extensive use of pointed arches, and the House of
Jacques Coeur is no exception. Pointed arches can
be found throughout the mansion, particularly in the
doorways, windows, and arcades. These arches add
height and elegance to the building.

Ornate Carvings: Gothic architecture is known for its

intricate stone carvings, and the House of Jacques
Coeur features numerous examples. The exterior of
the mansion is adorned with detailed carvings of
foliage, animals, and other decorative motifs. These
carvings add richness and texture to the façade.
Ribbed Vaulting: The interior of the house
features ribbed vaulting, another
characteristic element of Gothic
architecture. Ribbed vaults are created by
intersecting arches, which distribute the
weight of the ceiling more effectively. The
ribbed vaults in the House of Jacques
Coeur create a sense of spaciousness
and grandeur.

Tracery: Tracery is a decorative element

often seen in Gothic architecture. It
consists of intricate stone traceries that
form patterns in windows and screens.
The House of Jacques Coeur showcases
beautiful tracery in its windows,
particularly in the large stained glass
windows that grace the mansion.
Tall Windows: Gothic architecture emphasizes the use of large
windows to maximize the entry of natural light. The House of
Jacques Coeur has tall, narrow windows with pointed arches,
allowing ample light to illuminate the interior spaces. Some of
these windows also feature stained glass panels.

Towers and Turrets: The mansion incorporates Gothic-style towers

and turrets, adding verticality and visual interest to the building.
These architectural elements create a sense of fortification and
grandeur, reminiscent of medieval castles.

Decorative Finials: Finials are ornamental features placed at the

top of pointed arches or gables. The House of Jacques Coeur
includes decorative finials on its roofline and at various points on
the façade. These finials often take the form of stylized pinnacles
or spires, adding an elegant touch to the building's silhouette.
Although designed to accommodate their new commercial and
municipal functions, stylistically these buildings borrowed extensively
from the vocabulary developed for church buildings, using pointed
arches and elaborate tracery. The town hall in Bruges, Belgium, survives
nearly intact, a fortunate accident of the historical development of that
cloth-trading center.

Town Hall of the City of Brussels: This Grand-Place and is considered a masterpiece of
civil Gothic architecture
The Middle Ages ended in a series of unfortunate concurrent disasters. Climate investigations in the
latter part of the twentieth century reveal that, beginning about 1300, a cooling in the Northern
Hemisphere brought about what has been labeled “The Little Ice Age” that lasted as late as 1850. By
1315, in particular, weather in the summers became unpredictable and was extremely cold and wet,
causing widespread crop failures across Europe that resulted in famine. For more than two centuries
during this time period, people had been moving into the cities, and the rate of population growth
increased so much that the population of Europe nearly doubled between 1000 and 1300. Fields
depleted from decades of over-farming produced diminished yields and, in 1315–1317, at the
beginning of the Little Ice Age, strange weather caused outright crop failures resulting in famine
followed by plague. Furthermore, as the general state of health suffered, in 1348, in the port cities of
central Italy, a disease appeared that swept through the population, disfiguring its victims with
hundreds of black pustules that preceded a lingering death. A form of bubonic plague, it was called
the Black Death. Because medieval physicians were unable to conceive that the disease was spread
by fleas on rats, their implausible preventive measures had no effect. As the plague spread the length
and breadth of the Continent in the next two years, upward of 40 percent of Europe’s population
died—at least twenty-five million people perished.
Meanwhile, the church hierarchy began to splinter with a series of papal politics. From the East appeared
yet another threat, the Islamic Seljuk Turks, who conquered all of what is now Turkey, pressed hard
against the last tiny fragment of the once-great Byzantine Empire, now shrunken within the walls of
Constantinople. Eventually, in 1453, after long resistance, Constantinople fell to the Turks, persuading
many Greek scholars in Constantinople to begin an exodus to Italy. Yet, in the face of these compounded
tribulations, first in central Italy by 1400 and then spreading quickly across Europe, there blossomed a
growing optimism in human potential and a renewed respect for the intellectual and artistic achievements
of Classical Greece and Rome. Encouraged in part by the arrival of the emigrating Greeks from the
beleaguered East, Italian scholars, painters, sculptors, and architects set out to equal the efforts of
thirteenth century theologians in their reconciliation of Christian belief with the intellectual rigor of Classical
thought. What the Italian artists and architects endeavored was to reconcile the beauty of Classical art
with Christian thought, to create a new architecture and art that was both Christian and Classical. As the
Middle Ages faded, a new spirit was born, a rebirth of a classical humanism, a renaissance.
11. Gothic: Study of principles of design of buildings through study of its Architecture: a) Monumental; Notre Dame, Paris.
b) Domestic (Built to inhabit) and c) Civic space;

12. Gothic: Study of Gothic Architecture, typical characteristics including the pointed arch, the ribbed vault and the flying
buttress, aesthetic elements with examples like Chartres Cathedral: French High Gothic style

Thank you!