The Gothic Awakening (also referred to as Gothic Victorian or neo-Gothic ) is an architectural movement that began in the late 1740s in England. Its popularity grew rapidly in the early nineteenth century, as admirers of the increasingly serious and educated neo-Gothic style sought to revive medieval Gothic architecture, in contrast to the prevalent neoclassical style of the day. Gothic Revival attracts features from the original Gothic style, including decorative, finial, lancet, hood and stop labels.
The Gothic Awakening Movement appeared in the 19th century England. Its roots are intertwined with profound philosophical movements associated with Catholicism and the resurrection of the High Church or Anglo-Catholic faith which is concerned with the growth of religious nonconformism. Ultimately, the "Anglo-Catholicism" tradition of religious belief and style became widespread for its intrinsic appeal in the third quarter of the nineteenth century. The Gothic Awakening Architecture varies greatly in allegiance to both ornamental and medieval construction styles, sometimes by a little more than the sharpened window frames and some of the Gothic decorations of the building on the contrary to a completely nineteenth-century plan and using contemporary materials and construction methods.
In parallel with the rise of neo-Gothic styles in 19th-century England, flowers spread rapidly to the European continent, in Australia, Sierra Leone, South Africa and America; The 19th and early 20th centuries saw the construction of a large number of Gothic Revival and Carpenter Gothic structures around the world. The Influence of Awakening continued to peak in the 1870s. New architectural movements, sometimes associated as in the Arts and Crafts movement, and sometimes in direct opposition, such as Modernism, gained ground and by the 1930s Victorian architecture was generally condemned or ignored. The 20th century then saw a resurgence of interest, manifested in Great Britain by the formation of the Victorian Society in 1958.
Video Gothic Revival architecture
Roots
The rise of Evangelicalism in the eighteenth and early nineteenth centuries saw in England a reaction in the High Church movement that sought to emphasize the continuity between established churches and pre-Reformed Catholic churches. Architecture, in the form of the Gothic Awakening, became one of the main weapons in the arsenal of the High Church. The Gothic awakening is also aligned and supported by "medievalism", rooted in antique concerns with victims and curiosity. As "industrialization" evolves, reactions to machine production and factory appearance also grow. Beautiful supporters like Thomas Carlyle and Augustus Pugin take a critical view of industrial society and describe pre-industrial medieval society as a golden age. For Pugin, Gothic architecture is impregnated with Christian values ​​that have been replaced by classicism and destroyed by industrialization.
The Gothic revival also takes on a political connotation; with "rational" and "radical" neoclassical styles seen as related to republicanism and liberalism (as evidenced by its use in the United States and to a lesser extent in the French Republic), a more spiritual and traditional Gothic Awakening became associated with monarchy and conservatism, which reflected by the choice of style for rebuilt central government at the Palace of Westminster (holding the Royal Parliament of England) in London and Parliament Hill in Ottawa.
In English literature, Gothic Revival and Classical Romantic architecture gave birth to the genre of Gothic novels, beginning with The Castle of Otranto (1764) by Horace Walpole, the 4th Earl of Orford, and inspiring the 19th century genre of poetry medieval stemming of the pseudo-bardic poem "Ossian". Poems like "Idylls of the King" by Alfred Tennyson, 1st Baron Tennyson reconstruct modern themes specifically in Arthurian romance in medieval times. In the German literature, the Gothic Awakening also has a foundation in the literary fashions.
Maps Gothic Revival architecture
Survival and revival
Gothic architecture began at the Basilica of Saint Denis near Paris, and the Cathedral of Sens in 1140 and ended with the latest developments in the early 16th century with buildings such as HenryÃ, VII's Chapel in Westminster. However, Gothic architecture was not completely extinguished in the 16th century but instead persisted in the ongoing cathedral building projects; at Oxford and Cambridge Universities, and in the construction of churches in increasingly isolated rural districts in Britain, France, Germany, the Polish-Lithuanian Commonwealth and in Spain.
In Bologna, in 1646, the Baroque architect Carlo Rainaldi built the Gothic dome (completed 1658) for the Basilica of San Petronio in Bologna, which had been built since 1390; There, the context of the Gothic structure overrides the consideration of current architectural modes. Guarino Guarini, a seventeenth-century Theatine monk who was active mainly in Turin, recognized the "Gothic order" as one of the main systems of architecture and used it in practice.
Likewise, Gothic architecture survived in urban settings during the later seventeenth century, as demonstrated in Oxford and Cambridge, where several additions and improvements to Gothic buildings are considered more in keeping with the original structural style of the contemporary Baroque. Tom's Tower belongs to Sir Christopher Wren for Christ Church, University of Oxford, and, later, Westminster Abbey's west tower Nicholas Hawksmoor, blurring the line between so-called "Gothic survival" and Gothic Revival. Across France in the 16th and 17th centuries, churches such as St-Eustache continued to be built following a gothic form covered in classical details, until the arrival of Baroque architecture.
In the mid-18th century, with the advent of Romanticism, the increasing interest and consciousness of the Middle Ages among some influential experts created a more respectful approach to medieval art elected, beginning with the architecture of the church, monuments of royal and noble tombs, stained glass, and manuscripts ancient Gothic image. Other gothic arts, such as tapestries and metal, continue to be ignored as barbaric and abusive, but sentimental and nationalist relations with historical figures are equally strong in this early awakening as a purely aesthetic problem.
German Romantisis (like the philosopher and writer Goethe and architect Karl Friedrich Schinkel), began to appreciate the beautiful character of the ruins - "beautiful" into new aesthetic qualities - and the mellowing effects of time that the Japanese called
Some of the earliest evidence of Gothic architectural revival is from Scotland. Inveraray Castle, built from 1746, with design input from William Adam, features a merger of towers. These are conventional Palladian-style houses that incorporate some external features of baronial Scottish style. Robert Adam's homes in this style include Mellerstain and Wedderburn in Berwickshire and Seton House in East Lothian, but this is most clearly seen in Culzean Castle, Ayrshire, which was overhauled by Adam from 1777. The eccentric landscape designer Batty Langley even attempted to "fix" Gothic form by giving them classical proportions.
The younger generation, taking the Gothic architecture more seriously, gives readers to the series of John Britton Architecture Antiquities of Great Britain, which began appearing in 1807. In 1817, Thomas Rickman wrote an experiment... to name and define the Gothic style sequence in English ecclesiastical architecture, "textbooks for architecture students". Its long antique title is descriptive: Trying to distinguish the English architectural style from the Conquest to the Reformation; preceded by sketches of Greek and Roman orders, with the notice of nearly five hundred British buildings . The categories he used were Norman, Early English, Decorated, and Perpendicular. He passed various editions, still re-published in 1881, and has been re-published in the 21st century.
Throughout the 19th and early 20th centuries, Gothic Awakening was used throughout Europe, throughout the United Kingdom, and in the United States for public buildings and homes for people who could afford styles, but the most common use for the Gothic Awakening architecture is in the construction of churches. Churches across countries affected by the Gothic Awakening, small and large, whether isolated in small settlements or in big cities, there is at least one church done in the Gothic Awakening style. The main examples of Gothic cathedrals in the US include St. Joseph's Cathedral Church. John the Divine in New York City and Washington National Cathedral (also known as "The Cathedral Church of St. Peter and Paul") on Mt. Alban in northwest Washington, DC One of the largest churches in the Gothic Revival style in Canada is the Basilica of Our Lady Immaculate in Ontario.
The revival of Gothic architecture is to remain one of the most popular and long-lived of many revival architectural styles. Although the Gothic Awakening began to lose power and popularity after the third quarter of the 19th century in the commercial, residential and industrial fields, some buildings such as churches, schools, colleges and universities are still built in Gothic style (herein often known as the "Gothic" Style "Collegiate which remained popular in Britain, Canada and in the United States (the United States has most of the Gothic Revival style architecture for Schools and Colleges/Universities) to enter the early to mid-20th century.Only when new materials, such as steel and glass together with concern for function in everyday work life and saving space in cities, which means the need to build, rather than exit, begins to take place whether the Gothic Awakening begins to disappear from the demand for popular buildings.
Decorative
The revived Gothic style is not limited to architecture. Classical Gothic buildings from the 12th to 16th centuries are a source of inspiration for 19th century designers in various fields of work. Architectural elements such as pointy arches, steep roofs and fancy carvings such as lace and grille are applied to various Gothic Revival objects. Some examples of the influence of Gothic Awakening can be found in heraldic motifs in symbols, painted furniture with intricately painted scenes such as odd Gothic detail in British furniture can be traced as far back as Lady Pomfret's house on Arlington Street, London (1740s), and Gothic Grooming in the backseat and the glass pattern of bookshelves is a familiar feature of Chippendale's Director (1754, 1762), where, for example, a three-part bookcase uses Gothic detail with Rococo variety, in symmetrical form.. Sir Walter Scott's Abbotsford exemplifies in its "Regency Gothic" style furnishings. The Gothic revival also includes the reintroduction of medieval clothing and dance in history staged among historic followers, especially in the second half of the nineteenth century, and which has been revived more than a hundred years later in the so-called "awakening" popularity of the exhibition/festivals "in some states (such as in Maryland, Pennsylvania, and Virginia).The festivals in medieval dress and entertainment were popular among the rich in the 1800s but had spread in the late 20th century to the middle class well educated too.
In the mid-19th century, Gothic trinkets and niches can be remade cheaply on wallpapers, and Gothic blind arcading can decorate ceramic pitchers. Catalogs illustrated for the 1851 Great Exhibition are full of Gothic details, ranging from lacemaking and carpet design to heavy machinery.
In 1847, 8,000 British crown coins were printed in proof conditions with designs using upside decorations in accordance with the revived style. Considered by very beautiful collectors, they are known as the 'Gothic crown'. The design was repeated in 1853, again as evidence. Two similar shilling coins, 'Gothic florin' were printed for circulation from 1851 to 1887.
Romanticism and nationalism
Neo-Gothic France is rooted in medieval Gothic French architecture, where it was created in the 12th century. Gothic architecture is sometimes known during the medieval period as "Opus Francigenum", ("French Art"). French scholar Alexandre de Laborde wrote in 1816 that "Gothic architecture has its own beauty", which marks the beginning of the Gothic Awakening in France. Beginning in 1828, Alexandre Brogniart, director of the SÃÆ'¨vres porcelain factory, produces enamel paintings fired over large plate glass panels, for King Louis-Philippe Chapelle royale de Dreux, France's earliest important commission in Gothic tastes, preceded mainly by some features Gothic in some jardins paysagers .
The rise of the French Gothic was founded on a strong intellectual foothold by a pioneer, Arcisse de Caumont, who founded the SocietÃÆ'  © des Antiquaires de Normandie at a time when antiquaire still meant a connoisseur of antiques, and who published his book. great work in architecture in French Normandy in 1830 (Summerson 1948). The following year the historical romance novel Victor Hugo Hunchback of Notre Dame appeared, in which the magnificent Gothic cathedral of Paris was at once the backdrop and protagonist of the most popular fiction. Hugo intends his book to draw attention to the Gothic architecture left in Europe, however, rather than to embark on a craze for neo-Gothic in contemporary life. In the same year when Notre-Dame de Paris appeared, the newly restored French Bourbon monarch established an office in the Royal Government of France Inspector General of the Ancient Monument, a post filled in 1833 by Prosper Merimà © e , who became secretary of the new Commission of the Truth Monument in 1837. It was the Commission that instructed EugÃÆ'¨ne Viollet-le-Duc to report on the condition of the Abbey of VÃÆ'  © zelay in 1840. After this, Viollet le Duc arranged to restore most of the buildings symbolic in France including Notre Dame de Paris, Và © claray, Carcassonne, Roquetaillade, the famous Mont Saint-Michel on its coastal island, Pierrefonds, and the Palais des Papes in Avignon. When the first prominent neo-Gothic church in France was built, the Basilica of Saint-Clotilde, Paris, began in September 1846 and was ordained on 30 November 1857, the architect chosen, significantly, from the German extraction Franz Christian Gau (1790-1853) ; the design was significantly modified by Gau's assistant, ThÃÆ'  © odore Ballu, at a later stage, to produce a pair of flocking crowns crowning the western end.
Meanwhile, in Germany, interest in Köln Cathedral, which had begun construction in 1248 and is still unfinished at the time of the revival, began to reemerge. The "Romantic" movement of 1820 brought back interest, and work began again in 1842, which markedly marked the return of German Gothic architecture. Prague Cathedral is also overdue
Because of Romantic nationalism in the early 19th century, Germany, France and England all claimed the original Gothic architecture from the 12th century era as originating in their own country. English boldly coined the term "Early English" for "Gothic", a term that implies Gothic architecture is a creation of England. In his 1832 edition of Notre Dame de Paris, author Victor Hugo said, "Let us inspire in this country, if possible, love for national architecture", implying that "Gothic" is France's national heritage.. In Germany, with the completion of the Cologne Cathedral in the 1880s, at its peak is the tallest building in the world, the Cathedral is seen as the crown of Gothic architecture. Other major settlements of the Gothic cathedral are from Regensburger Dom (with twin towers completed from 1869-1872), Ulm MÃÆ'¼nster (with 161 meters tower from 1890) and St. Vitus Cathedral in Prague (1844-1929).
In Belgium, a church of the 15th century in Ostend was burned in 1896. King Leopold II supported his successor by churches such as the cathedral after the Votive Neo-Gothic Church in Vienna and Cologne Cathedral: Saint Peter and Saint Paul Church. In Mechelen, a largely unfinished building was taken in 1526 as the seat of the Great Council of the Netherlands, finally built at the beginning of the 20th century strictly following the Rombout II of Keldermans's Brabantine Gothic design, and became the 'new' north wing of City Hall.
In Florence, the Façade Duomo was founded for the Medici-House of Lorraine nuptials in 1588-1589, dismantled, and the western end of the cathedral stood empty again until 1864, when a competition was held to design a new faÃÆ'§. ade matches the original structure of Arnolfo di Cambio and a good campanile next to it. The competition was won by Emilio De Fabris, and worked on its polychrome design and mosaic panels beginning in 1876 and completed in 1887, creating the western Neo-Gothic façade. In Indonesia, (former Indies colony), the Jakarta Cathedral began in 1891 and was completed in 1901 by the Dutch architect, Antonius Dijkmans; while further north on the Philippine islands, the Church of San Sebastian, designed by architects Genaro Palacios and Gustave Eiffel and was ordained in 1891 in a Spanish colony.
In Scotland, while Gothic styles similar to those used further south in Britain were adopted by figures including Frederick Thomas Pilkington (1832-98) in secular architecture, it was marked by the adoption of a baronial Scottish style. Important for the adoption of the style at the beginning of the 19th century was Abbotsford House, the residence of novelist and poet, Sir Walter Scott. Rebuilt for him since 1816, it became a model for the revival of modern baronial styles. Common features borrowed from the 16th and 17th century houses include fenced gates, gables crows, spiky towers, and machines. This style is popular throughout Scotland and is applied to many relatively simple dwellings by architects such as William Burn (1789-1870), David Bryce (1803-76), Edward Blore (1787-1879), Edward Calvert (c) 1847-1914 ) and Robert Stodart Lorimer (1864-1929) and in an urban context, including the construction of Cockburn Street in Edinburgh (from the 1850s) as well as the National Wallace Monument in Stirling (1859-69). The rebuilding of Balmoral Palace as a baronial palace and its adoption as a royal retreat from 1855-8 confirmed the popularity of the style.
In the United States, the first "stile Gothic" church (as opposed to churches with Gothic elements) is the Trinity Church in Green, New Haven, Connecticut. It was designed by the famous American Architects Ithiel Town between 1812 and 1814, even as he was building the Federalist-style Central Church, New Haven right next to this radical new "Gothic-style" church. Its foundation was laid in 1814, and ordained in 1816. Thus ahead of St. Luke's Church, Chelsea is often said to be the first Gothic revival church in London, a decade. Though built from coral rocks with curved windows and doors, the Gothic tower parts and fortress are made of wood. Gothic buildings were later founded by Episcopal congregations in Connecticut at St. John's in Salisbury (1823), St. John's in Kent (1823-26), St. Andrew's at Marble Dale (1821-23). This was followed by the design of the City for Christ Church Cathedral (Hartford, Connecticut) (1827), which incorporated elements of Gothic as it sustains into church cloth. St. Episcopal Church Paul in Troy, New York, was built in 1827-1828 as an exact copy of the City design for the Trinity Church, New Haven, but uses local stone; because of the change in the original, St Paul is closer to the original design of the City than the Trinity itself. In the 1830s, architects began to copy certain Gothic and Gothic Awakening Churches, and these "Gothic Revival" buildings "made the domestic Gothic style architecture that preceded it seem primitive and ancient." Since then, the Gothic Awakening architecture has spread to thousands of Gothic churches and buildings-revival throughout America.
There are many examples of Gothic Revival architecture in Canada. The first Gothic Awakening structure in Canada is the Notre-Dame Basilica in Montreal, Quebec, designed in 1824. During the War of 1812, many homesteads along the St. Lawrence was destroyed. Most homes are built in Georgian style; after their destruction, they are rebuilt in Gothic Revival or "Jigsaw Gothic" style. The capital city of Ottawa, Ontario is full of Gothic Awakening architecture. The building of Parliament Hill built in the last decade of the 19th century was built in the Gothic Revival style, like many other buildings in the city and remote areas, showing how popular the Gothic Revival movement is. Other examples of Canadian Gothic Awakening architecture are the Victoria Memorial Museum, (1905-08), Royal Canadian Mint, (1905-08), and Connaught Building, (1913-16), all in Ottawa by David Ewart.
Gothic as a moral force
Pugin and "truth" in architecture
In the late 1820s, A. W. N. Pugin, still a teenager, worked for two highly visible companies, providing Gothic detail for luxury items. For Royal Morel and Seddon furniture makers he provides a redecorating design for the elderly George IV at Windsor Castle in a Gothic flavor suitable for the setting. For royal craftsmen Rundell Bridge and Co., Pugin provided designs for silver from 1828, using a 14th century English-French Gothic vocabulary that he would continue to love later in design for the new Westminster Palace. Between 1821 and 1838 Pugin and his father published a series of architectural drawing volumes, the first two entitled, Gothic Architecture Specimens , and the following three, Examples of Gothic Architectures , which must remain in print and reference standard for the Gothic Revivalists at least for the next century.
In Contrasts (1836), Pugin expressed his admiration not only for medieval art but for the entire medieval ethos, claiming that Gothic architecture is a product of a purer society. In the True Principles of Designated or Christian Architecture (1841), he suggests that modern craftsmen attempting to imitate medieval style work should also reproduce their methods. Pugin believes Gothic is the true Christian architecture, and even says "the pointed arches are produced by the Catholic faith".
The most famous Pugin project is The House of Parliament in London, most of which was destroyed in a fire in 1834. Its part in the design consisted of two campaigns, 1836-1837 and again in 1844 and 1852, with Charles Barry's classic as nominal superior ( whether the couple works as a collegial partnership or if Barry acting as Pugin's superiors is not entirely clear). Pugin gave the interior decoration and interior, while Barry designed the symmetrical layout of the building, causing Pugin to comment, "All Grecian, Sir, Tudor detailing the classical body".
Ruskin and Venetian Gothic
John Ruskin completes Pugin's ideas in two of his most influential theories, Seven Architectural Lights (1849) and The Stones of Venice (1853). Finding his architectural ideals in Venice, Ruskin proposed that Gothic buildings excel in all other architectures because of the "sacrifices" of stone carvers in the intricate decorations of every stone. By declaring the Doge Palace a "central building of the world", Ruskin posed a case for Gothic government buildings as Pugin did for churches, although largely only in theory. When his ideas were practiced, Ruskin often disliked the results, although he supported many architects, such as Thomas Deane and Benjamin Woodward, and was thought to have designed some corbel decorations for the Oxford University Natural History Museum.
The ecclesiology and burial style
In Britain, the Church of England is experiencing a resurgence of Anglo-Catholic ideology and ritualism in the form of the Oxford Movement and it became desirable to build a large number of new churches to serve population growth, and funerals for their hygienic burial. It finds ready exponents in universities, where an ecclesiological movement is formed. Its supporters believe that Gothic is the only proper style for parish churches, and loves a certain era of Gothic architecture - that is "adorned". The Cambridge Camden Society, through its journal The Ecclesiologist, strongly condemns the newly under-standardized church building and its statements are followed so clearly that it becomes the center of the flood of Victorian restoration. affecting most Anglican cathedrals and parish churches in England and Wales.
The Church of St Luke, Chelsea, was the newly built Komisar Church in 1820-24, partly built using a £ 8,333 fund for its construction with money elected by Parliament as a result of the Church Building Act of 1818. It is often said to be the first Gothic Revival in London, and, like Charles Locke Eastlake said: "probably the only church at that time where the main roof was grooved in the rock". Nevertheless, the parish was firmly Church of the Low, and its original setting, modified in the 1860s, was a "sermon church" dominated by a pulpit, with small altars and wooden galleries above the nave alley.
The development of a major private metropolitan cemetery took place at the same time as the movement; Sir William Tite pioneered the first Gothic-style cemetery in West Norwood in 1837, with chapels, gates and decorative features in a Gothic way, attracting contemporary architects like George Edmund Street, Barry and William Burges. The style was immediately greeted successfully and universally replaced the previous preference for classic design.
However, not all architects or clients are swept away by this wave. Although the Gothic Awakening succeeded in becoming an increasingly familiar architectural style, the attempt to associate it with the idea of ​​high church superiority, as suggested by Pugin and the ecclesiological movement, is anathema to those who have ecumenical or nonconformist principles. They look to adopt it solely for the quality of its romantic aesthetic, to combine it with another style, or look to the Gothic Bricks of Northern Europe for a more vivid appearance; or in some of the three examples, such as the non-denominational Abney Park Cemetery designed by William Hosking FSA in 1840.
Viollet-le-Duc and Iron Gothic
France has lagged a bit in entering the neo-Gothic scene, but has produced a leading figure in the resurrection at Eug訨ne Viollet-le-Duc. In addition to being a powerful and influential theorist, Viollet-le-Duc is a prominent architect whose genius is in restoration. He believes to restore the building to a finished state that they would not know even when they were first built, the theory he applied to his restoration of the walled city of Carcassonne, and Notre-Dame and Sainte Chapelle in Paris. In this he is different from his English counterpart Ruskin, as he often replaces medieval stonemason work. His rational approach to Gothic stands in stark contrast to the origins of the romance of the resurrection.
Throughout his career he remains in confusion, whether iron and stone should be incorporated in a building. Iron has actually been used in Gothic buildings since the early days of awakening. Only with Ruskin and archaeological Gothic demands for historical truths that iron, whether visible or not, is deemed inappropriate for Gothic buildings.
This argument began to collapse in the mid-19th century as a large prefabricated structure such as glass and Crystal Palace iron and glass yard of the University Museum of Oxford was established, which seems to embody the principles of Gothic through iron. Between 1863 and 1872 Viollet-le-Duc published his book Entretiens sur l'architecture , a set of bold designs for buildings combining iron and stone. Although these projects never materialized, they affected several generations of designers and architects, especially Antoni GaudÃÆ' in Spain and, in the UK, Benjamin Bucknall, Viollet's principal English follower and translator, whose masterpiece is the Woodchester Mansion.
The flexibility and strength of the iron-free neo-Gothic designers to create an impossibly new structural gothic form in stone, such as at the Calvert Vaux cast iron bridge in Central Park, New York (1860s; illustration, under ). Vaux enlists the filigree shapes derived from Gothic blind-arcading and its decorative windows to express spring and support of a curved bridge, in stretching the presage shape of Art Nouveau.
Rolega Gothic
In the United States, Collegiate Gothic is the final and literal awakening of the British Gothic Awakening, tailored for American university campuses. Cope & amp; Stewardson was an early and important exponent, transforming the campus of Bryn Mawr College, Princeton University and the University of Pennsylvania in the 1890s.
This movement continued into the 20th century, with Cope & amp; Stewardson Campus for the University of Washington in St. Louis (1900-09), Charles Donagh Maginnis Building at Boston College (1910s), Ralph Adams Cram's design for Princeton University Graduate College (1913), and the reconstruction of James Gamble Rogers on the campus of Yale University 1920s). Skyscraper Charles Klauder Gothic Revival on the campus of the University of Pittsburgh, the Cathedral of Learning (1926) exhibits a very Gothic style both inside and outside, while utilizing modern technology to make buildings taller.
Vernacular Adaptation
Gothic carpenters' houses and small churches became common in North America and elsewhere in the late 19th century. These structures adapt the Gothic elements such as pointy arches, steep gables, and towers to the traditional American skeleton construction. The invention of massive mass-produced scroll saws and wood molds enables some of these structures to mimic the fenestration of flowers from the High Gothic. However, in many cases, the Gothic Carpenter buildings are relatively simple, retaining only the basic elements of window arches and steep roofs. Perhaps the most famous example of Carpenter Gothic is a house in Eldon, Iowa, that Grant Wood used for the background of his famous painting, American Gothic.
Benjamin Mountfort from Canterbury, New Zealand imports Gothic Awakening styles to New Zealand, and designs Gothic Revival churches in wood and stone. Frederick Thatcher in New Zealand designed wooden churches in the Gothic Awakening style, for example Old St. Paul's, Wellington. St. Mary of the Angels, Wellington by Frederick de Jersey Clere is in the French Gothic style, and is the first Gothic design church built on ferro-concrete. This style is also favored in the southern city of Dunedin in New Zealand, where the wealth brought by Otago Gold Rush in the 1860s enabled large stone buildings to be built, including the Otago Maxwell Bury Reconstruction Building and John Campbell-designed Dunedin Law Courts, both built of dark hard breccias and local white limestone, Oamaru stones.
Other Gothic Awakening Churches were built in Australia, particularly in Melbourne and Sydney, see Category: Gothic Revival architecture in Australia.
In northwestern Bulgaria in the 19th century, the unofficial Slavine Architectural School introduced elements of the Gothic Awakening into the architecture of the revival of traditional Church and Bulgarian-style housing. These include geometric decorations based on triangles on apses, dome and external narthexes, as well as sharp spiky windows and door arches. The largest project of the Slavine School was the cathedral of the Lopushna Church (1850-1853), although later churches such as Zhivovtsi (1858), Mitrovtsi (1871), Targovishte (1870-1872), Gavril Genovo (1873), Gorna Kovachitsa (1885) and Bistrilitsa (1887-1890) features the most prominent Gothic Revival features.
20th century
The Gothic style dictates the use of structural members in compression, which leads to tall buildings that are supported with interior masts of heavy load bearers and tall and narrow windows. However, at the beginning of the 20th century, technological developments such as steel frames, incandescent light bulbs and elevators made this approach obsolete. Steel framing replaces the non-ornamental function of ribs and flying saucers, providing a wider open interior with fewer disturbing columns.
Some architects persist in using Neo-Gothic tracery as an ornament applied to the iron skeleton underneath, for example in the 1913 Woolworth skyscraper at Cass Gilbert in New York and Raymond Hood's 1922 Tribune Tower in Chicago. But, during the first half of this century, Neo-Gothic was replaced by Modernism, although some modernist architects see the Gothic tradition of architectural forms entirely in terms of "honest expressions" of technology today, and see themselves as heirs. for that tradition, with the use of rectangular frames and exposed iron beams.
Nevertheless, the Gothic Awakening continues to use its influence, simply because many of its more massive projects are still well established until the second half of the 20th century, such as Liverpool Cathedral Giles Gilbert Scott and Washington National Cathedral (1907). -1990). Ralph Adams Cram became a major force in Gothic America, with his most ambitious project, the Cathedral of Saint John the Divine in New York (claimed to be the world's largest Cathedral), as well as the Gothic Collegiate building at Princeton University. Cram says "the style carved and perfected by our ancestors [has] become ours by an undeniable inheritance."
Although the number of new Gothic Revival buildings declined sharply after the 1930s, they continue to be built. Bury St Edmunds Cathedral Edmunds was built between the late 1950s and 2005. A new church in Gothic style was planned for St. John's Parish. John Vianney in Fishers, Indiana. A new building under construction at Peterhouse will adopt the neo-gothic style of the rest of the yard being built in it.
Awards
In 1872, the Gothic Awakening was mature in England, Charles Locke Eastlake, an influential professor of design, could produce the History of the Gothic Awakening, but the first long essay on the movement written in the field of art history that matured was Kenneth Clark's, The Gothic Revival. An Essay, which appeared in 1928. Architects and writers Harry Stuart Goodhart-Rendel covered the Resurrection subject in an appreciative way in his Slade Lectures in 1934. But the early 20th century view of the Gothic Awakening architecture was very dismissive, the critic wrote " nineteenth-century architectural tragedy ", mocking the" uncompromising ugliness "of the era's buildings and attacking the" sadistic hatred of beauty "of its architects. The 1950s saw little further signs of the restoration of the architectural reputation of the Resurrection. The study of John Steegman, Consort of Taste (re-published in 1970 as Victorian Taste, with the introduction by Nikolaus Pevsner), was published in 1950 and started a slow turn in the wave of opinion "toward a more serious and sympathetic assessment." This was followed by the foundation of the Victorian Society in 1958 and, in 1963, the publication of Victorian Architecture, an influential collection of essays edited by Peter Ferriday. In 2008, the fiftieth anniversary of the founding of the Victorian Society, the Gothic Awakening architecture is more fully appreciated with some of its principal architects receiving scientific attention and some of its finest buildings, such as George Gilbert Scott's St Pancras Station Hotel, restored magnificently.
Details of architectural elements
These illustrations come from Charles Knight's Graphic Art Gallery , published in England in 1858. They show a detailed perspective on combining the influence of modern design in Gothic style:
Gallery
Asia
Europe
North America
South America
Australia and New Zealand
New Zealand
Footnote
References
Source
Further reading
- Christian Amalvi, Le GoÃÆ'Â »t du moyen ÃÆ' Â ¢ ge , (Paris: Plon), 1996. The first French monograph on the French Gothic Revival.
- "Le Gothique retrouvÃÆ' Â ©" avant Viollet-le-Duc. Exhibition, 1979. The first French exhibition relating to Neo-Gothic France.
- Hunter-Stiebel, Penelope, Of knights and towers: The Gothic Awakening in France and Germany , 1989. ISBNÃ, 0-614-14120-6
- Phoebe B Stanton, Pugin (New York, Viking Press 1972, Ã, Â © 1971). ISBNÃ, 0-670-58216-6
- Summerson, Sir John, 1948. "Viollet-le-Duc and rational viewpoint" was collected in the Celestial Mansions and other essays on Architecture
- Sir Thomas G. Jackson, Modern Gothic Architecture (1873), Byzantine and Romantic Architecture (1913), and three volumes of Gothic Architecture in France, England and Italy (1915)
External links
- Style Guide of Victoria and Albert Museum
- Basilique Sainte-Clotilde, Paris
- Canada by Design: Parliament Hill, Ottawa in the Library and Archives of Canada
- Books, Research, and Information
- The Gothic Awakening in Hamilton, Ontario Canada
- Proyecto Documenta entries for neogotic elements in ValparaÃÆ'so churches
- Toronto Sanctuary: Church Design by Henry Langley
Source of the article : Wikipedia
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