Exercise Pugin on Gothic

What, in Pugin’s view, was the overwhelming advantage of Gothic over other architectural styles?

In attempting to answer this question I feel that’s it important to reflect upon what Gothic architecture is, and for this exercise will focus on English Gothic.

In its simplest terms Gothic architecture is defined by

·         Pointed arches

·         Vaulted roofs

·         Buttresses

·         Large windows, and
·         Spires.

Taken from The Story of Western Architecture

Taken from The Story of Western Architecture

English Gothic can be sub-divided, and each sub-division had its own characteristics;

·         Early English (c.1180 – 1275) – pointed arch known as the lancet, the use of which allowed for a more open airy building, larger windows and a greater variation in proportions as the use of pointed arches created the possibility of spanning higher together with the use of wider gaps using narrower columns.

Salisbury Cathedral (excluding the tower and spire) it is in the Early English style

·         Decorated (c1275 – 1380) – both windows and vaulting became more elaborate. Windows became sub-divided by closely spaced parallel vertical bars of stone (mullions), finishing where the arch started, filling the ‘arch space’ with a lattice work of stone called tracery. Vaults were built with an increasing number of ribs.

York Minster

·         Perpendicular (c1380 – 1520) – windows became larger with slimmer mullions allowing for greater scope for stained glass craftsmen.

Gloucester Cathedral - central tower

The development of Gothic design and the building of Gothic structures relied upon skilled, imaginative and creative architects and craftsmen, and with religion being the driving force of this architectural movement, those who created these buildings did so in the service of god

During the 16^thand 17^th century, Gothic architecture gave way to the Renaissance style until in the 19th century there was a revival in Gothic architecture.

The Renaissance ushered in a more classical approach to architecture, i.e. reference to the Greek and Roman elements of strict proportions, columns (Ionic, Doric and Corinthian ), colonnades and domed roofs, and British architecture was dominated by the ‘classical canon’ until the mid nineteenth century.

During the nineteenth century there was a reaction against impact of the industrial revolution, and a number of voices were beginning to be heard railing against not only the ‘mass production’ of the time but the perceived view in the art world being promoted by the newly established Royal Academy of Arts, ‘Idealisation and generalisation were the corner stone’s of the RA dogma. Nature should be improved on rather than copied.’ (Pg 29.Desperate Romantics Franny Moyle 2009, John Murry)

Pugin, (1812 – 1852), the son of a French aristocrat, developed his love of medieval Gothic  architecture on tours abroad with his father, who worked as an artist and draughtsman, eventually for the architect John Nash.

He converted to Catholicism, a conversion  ‘which left him with a fervent desire to express his faith through architecture’ (www.britainexpress.com/history/bio/pugin)

He identified two rules

·         That there should be no features about a building that are not necessary for convenience, construction or propriety

·         That all ornament should consist of enrichment of the essential construction of the building

Further stating that ‘the neglect of these two rules is the cause of all the bad architecture of the present time..’  (pg 664 A World History of Art – Honour and Fleming. Laurence King 7^th Edition)

Having converted to Catholicism, I would imagine that whatever work Pugin undertook it would be ‘for the greater glory of God’, and given the historical Christian driving force of English Gothic architecture and his love of the style, it seems only natural that he linked faith and work, ‘advocating the Gothic style as a matter of religious principle’.. considering the ‘Italian renaissance style as not only bad architecture but also immoral’. (pg 194 The Story of Western Architecture Bill Risebero 3^rd edition 2002 Herbert Press)

Interestingly, the work, both written and designing had an influence on John Ruskin (English art critic and theorist) He wrote The Seven Lamps of Architecture, which have running thorough them the idea of God and the contribution craftsmen can bring to the building, they are as follows;

• Sacrifice
• Truth
• Power
• Beauty
• Life
• Memory
• Obedience

He in turn had a huge influence art during his like, being able to make or break up and coming artists - the power of the written work to influence is nothing new!