#midterm project

The Gothic Period

           The Gothic period arrives in three waves: Early Gothic, High Gothic, and Late Gothic, with the next wave building upon the foundations of its predecessor as architectural styles, evolved to accommodate the changing times. Looking at several Cathedrals from each Gothic period, it is easy to understand the influence of gothic architectural elements as they present themselves. Beyond representing a newfound aesthetic-driven appreciation for the soon-to-be Gothic style and how it provided accommodations for a physically growing society, the way the Basilica Cathedral of Saint-Denis became a figurehead for gothic architecture and inspired the plans for Gothic cathedrals that followed, lead me to want to look at the connections between politics and religion, and how this relationship, modelled by gothic architecture such as the Basilica of Saint-Denis, was helping to push the Catholic agenda forward.

Early Gothic Architecture

Fig 1. Ninara, The Basilica Cathedral of Saint-Denis, January 11, 2016, Flickr https://www.flickr.com/photos/ninara/24619543142/

Fig 2. Kathedrale Saint-Ètienne, Sens By © Raimond Spekking / CC BY-SA 4.0 (via Wikimedia Commons), CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=65582950

Basilica Cathedral of Saint-Denis: A New Standard of Beauty

Contrary to its perceived connotation of everything dark and sublime, the Gothic architectural style in Medieval Europe appears to embrace the freedom of large spaces, though this was not an entirely new concept. The Basilica Cathedral of Saint-Denis was originally constructed during the Romanesque era thus retained much of its exterior Romanesque architecture even after Abbot Suger’s remodelling project.[1] An era of increasing prosperity and peace seemingly provided a convenient reason for architectural styles to evolve as a period of relative stability allowed for prevailing issues to be addressed such as spurts in population growth. As population numbers increased, the need for larger places of worship for citizens to congregate became apparent. In response to this need for more space, Abbot Suger redesigned the composition of various sections of the Cathedral, keeping in mind that to accommodate more people he would need to somehow create more space. His major contribution was introducing the pointed arch in his design, which became a notable characteristic of gothic architecture. The pointed arch, likely borrowed from Islamic architecture and likely seen in Spain during this time, relieved some of the thrust, subsequently relieving the stress on other structural elements, and made it possible to reduce the size of columns that supported the arch– which was slenderer compared to Romanesque pillars[2]. Suger’s design also introduced improved ribbed vaulting which was where the pointed arch, when seen in three dimensions was where the ribbed vaulting met in the centre of the ceiling of each bay[3].  We can see this design at work in the ambulatory and chapel of the Saint-Denis Cathedral (fig 3, 4).

Fig 3. Beckstet, The Ambulatory, Basilica Cathedral of Saint-Denis, Saint-Denis, France, April 2005, Wikimedia Commons accessed June 20, 2020, https://commons.wikimedia.org/wiki/File:Basilica_Saint_Denis_ambulatory.JPG

Fig 4. Chabe01, Autel des Corps saints, Basilique Saint-Denis, Saint-Denis, Seine-Saint-Denis, December 2, 2017, Wikimedia Commons accessed June 20, 2020, https://commons.wikimedia.org/wiki/File:Autel_Corps_saints_Basilique_St_Denis_St_Denis_Seine_St_Denis_5.jpg

The impact of the remodelling of Saint-Denis is felt in the Saint-Ètienne Cathedral, also located in France which was the first cathedral built entirely in the gothic style[4] (fig 2). This is an acute example of how influential gothic architecture became as it inevitably spread throughout Europe.  

While relatively harmonious times allowed Early Gothic architecture to flourish, progress and change continued to run the underbelly of European culture. 

High Gothic

Fig 5. Garitan. View from north-east of Reims Cathedral (High Gothic), June 7, 2015, Wikimedia Commons accessed June 20, 2020, https://commons.wikimedia.org/wiki/File:ReimsCathedral0116.jpg

The stylistic evolutions of Gothic cathedrals are one way of looking at how the general composition and stylistic approaches of Gothic Cathedrals mirror the cultural shifts within European society. The exterior build of the Reims Cathedral reveals a much more ornate and decorative High Gothic style compared to the Early Gothic style (fig 5), yet the interior retains the early gothic style of pointed arches and ribbed faults as seen in the nave (fig 6). 

Fig 6. Interior of the Reims Cathedral, Reims, France. https://www.pxfuel.com/en/free-photo-qmtdr

Late Gothic

Fig 7. Flamboyant Gothic east end, Prague Cathedral (1344–), By Dietmar Rabich, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=80006695

Late Gothic architecture accurately regards its style as ‘flamboyant’. Much of the architecture during this time reflects the geometric achievements engineers and designers accomplished over time. Revelling at the intricate tracings of the exterior of the Prague Cathedral one can appreciate the technical mastery embossed in these buildings.

Although architectural achievement seems to favour the bold I want to look more into the confounding political nature of cathedrals during the gothic period. The presence of royal and noble authority figures within the roots of gothic architecture is exemplified by the construction and eventual remodelling of the Basilica Cathedral in Saint-Denis. 

Where Politics and Religion Converge

           The consensus between architectural historians attests to the origins of Gothic architecture to be found in the Basilica Cathedral of Saint-Denis in Saint-Denis, France.[5] Historically, Gothic art is exclusively religious, reflecting the growing power of the church in Rome[6]. As the final resting place for Monarchs, the cathedral of Saint-Denis is one such example where politics and religion converge; a symbol of the substantial influence of two prominent institutions. 

The Abbot Suger, who pioneered the ascension of Gothic architecture with his remodelling of the Basilica Cathedral of Saint-Denis (Fig 1), was also a statesman. As an advisor to Kings Louis VI and VII[7], the construction of the Basilica Cathedral of Saint-Denis was under Abbot Suger’s supervision. However, it is not hard to imagine, how this collaboration justified the strength of the union of the church and the state at the time, and what message Abbot Suger’s architectural style helped spread. 

Various members of the church, such as the abbot, archbishop, friar, and clergy were interested in secular life and began valuing material wealth and a desire for power.[8] Synonymous with the renewed vitality of Christianity, members of the church amassed a sense of pride as they became powerful figures in European society. This collective pride lead to the promotion of building larger churches, not only as a place of worship but a robust symbol of their newfound pride.[9] Abbot Suger’s Gothic style allowed for a revitalized sense of grandeur from the way his addition of pointed arches, slender pillars and ribbed vaults allowed the interior of the cathedral to appear and feel more expansive and filled with light. One area in the Basilica of Saint-Denis where this heavenly space can be felt is in the new choir (fig 8). Symbolically, this grandiose awareness of space and light represents the presence of divine power, which the church adopts to project their feeling of empowerment during this changing time. 

Fig 8. MOSSOT. Choeur, Basilique de Saint Denis, Saint-Denis, France, https://commons.wikimedia.org/wiki/File:Saint-Denis_-_Basilique_-2.JPG

The success of the Basilica Cathedral of Saint-Denis is fundamentally carried by the opportune rise of power of the Roman Catholic church. This rise was due in part to what seems to be the commodification of salvation[10], ergo, indicating a sort of industry built on the faith of people; specifically, their beliefs relating to the soul. With a monopoly on existing religions, Christianity and the medieval church helmed had a wide outreach, supplying a monopoly input referred to as “the conditions of salvation” which was carried by the Pope’s position as the exclusive authority for the Holy scripture.[11] As people of strong faith would turn to the Basilica of Saint-Denis in times of need and spiritual consolidation, one of the images people would see when entering through the north portal is the sculptural interpretation of Saint-Denis’ beheading (fig 9).

Fig 9. Myrabella, Basilica of St Denis, France, tympanum of the portal of the north transept: the beheading of Saint-Denis and his companions Rustique and Eleutherius, March 1, 2012, Wikimedia commons accessed June 23, 2020, https://commons.wikimedia.org/wiki/File:Basilique_Saint-Denis_portail_nord_tympan.jpg

As it appears, gothic architecture often represents much more than aesthetically satisfying, architectural iconicity and demonstrations of virtuosic technical skill. Christianity maintains its robust presence in Europe during the medieval ages, arguably through their affiliation with the royal family and other members of the nobility. As Christianity underwent a process of vitalization it fundamentally altered the stature of Northern Europe, creating centres of culture out of France, and eventually England, Holland, Germany and Austria.[12] Clergymen maintained political authority, and were in frequent communication with monarchies and other influential bodies of power which placed cathedrals in an interesting position; not just as a symbol of faith, but as well as a symbol of overwhelming power and influence of the state.

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Footnotes

[1] "Basilica of St. Denis: Architecture & History." Study.com. July 14, 2017. https://study.com/academy/lesson/basilica-of-st-denis-architecture-history.html.

[2] Spanswick, Valerie. “Gothic Architecture: an Introduction (Article),” Khan Academy (Khan Academy), accessed June 23, 2020, https://www.khanacademy.org/humanities/medieval-world/gothic-art/beginners-guide-gothic-art/a/gothic-architecture-an-introduction.

[3] ibid

[4] “Gothic Art (C.1150-1375),” Gothic Art: History, Characteristics. (Encyclopedia of Art History), accessed June 23, 2020, http://www.visual-arts-cork.com/history-of-art/gothic.htm.

[5] Fred S. Kleiner and Helen Gardner, “Gothic and Late Medieval Europe,” in Gardner's Art Through The Ages: A Concise Western History, Fourth (Australia: Cengage Learning, 2017), pp. 189.

[6] “Gothic Art (C.1150-1375),” (n 4)

[7] Anne F. Rockwell, “Suger,” Encyclopædia Britannica (Encyclopædia Britannica, inc., April 30, 2020), https://www.britannica.com/biography/Suger.

[8] Wang, Z. (2010). The Reconciliation of Reason and Faith in the Gothic Period of Medieval Europe. Journal of Cambridge Studies, 5 (4), pp. 94. https://doi.org/10.17863/CAM.1373

[9] ibid 94.

[10] Ekelund, Robert B., Robert F. Hébert, and Robert D. Tollison. "An Economic Model of the Medieval Church: Usury as a Form of Rent Seeking." Journal of Law, Economics, & Organization 5, no. 2 (1989): 309. Accessed June 23, 2020. www.jstor.org/stable/765028.

[11] Ibid 311

[12] Robert Chazan, “Medieval Northern Europe,” Refugees or Migrants, 2018, pp. 158-184, https://doi.org/10.2307/j.ctv8jp09p.11.

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Bibliography

"Basilica of St. Denis: Architecture & History." Study.com. July 14, 2017. https://study.com/academy/lesson/basilica-of-st-denis-architecture-history.html.

CHAZAN, ROBERT. "Medieval Northern Europe." In Refugees or Migrants: Pre-Modern Jewish Population Movement, 158-84. NEW HAVEN; LONDON: Yale University Press, 2018. Accessed June 23, 2020. www.jstor.org/stable/j.ctv8jp09p.11.

Ekelund, Robert B., Robert F. Hébert, and Robert D. Tollison. "An Economic Model of the Medieval Church: Usury as a Form of Rent-Seeking." Journal of Law, Economics, & Organization 5, no. 2 (1989): 307-31. Accessed June 23, 2020. www.jstor.org/stable/765028.

 “Gothic Art (C.1150-1375).” Gothic Art: History, Characteristics. Encyclopedia of Art History. Accessed June 23, 2020. http://www.visual-arts-cork.com/history-of-art/gothic.htm.

Kleiner, Fred S., and Helen Gardner. “Gothic and Late Medieval Europe.” Essay. In Gardner's Art Through The Ages: A Concise Western History, 4thed., 186–215. Australia: Cengage Learning, 2017.

Rockwell, Anne F. “Suger.” Encyclopædia Britannica. Encyclopædia Britannica, inc., April 30, 2020. https://www.britannica.com/biography/Suger.

Spanswick, Valerie. “Gothic Architecture: an Introduction (Article).” Khan Academy. Khan Academy. Accessed June 23, 2020. https://www.khanacademy.org/humanities/medieval-world/gothic-art/beginners-guide-gothic-art/a/gothic-architecture-an-introduction.