Gothic Art. Victoria Charles
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vaulted ceiling and gradually transformed the Romanesque method of construction. This development met the erstwhile massiveness of construction with a skeletal structure, ultimately resulting in the joist system. These joists gave an appearance of complete stability and security, even to the most daring creations of architectural imagination.
The groin vault rises between pointed supporting arches and is sectioned into parallel ribs that gather in a keystone in the vertex of the vault. Since these ribs were made of stone, the coping of the vault between them and the supporting arches only required light walls. Therefore, ribs were originally of greatest importance to construction, but over the course of the Gothic era their role became more and more decorative. Raising their number to three and four created six- or eight-part vaults. Eventually, the increase of ribs covering the copings of the vaults created the star vault, the net vault, and finally the fan vault with its low hanging keystones. The English Gothic in particular developed the latter with extravagance and rich imagination.
From the ribs of the groin vault the pressure was relayed onto the pillars of the nave, which also carried the supporting arches. Since these pillars had replaced walls in carrying the main weight, while also having to resist the lateral forces of the vault, they were reinforced not only in terms of circumference, but also externally with abutments, the so-called buttresses, which were weaker at the upper wall of the nave, but larger at the outer walls of the aisles. For additional securing, the buttresses extended beyond the walls of the aisles and climbing arches connected them to the flying buttresses of the nave. These flying buttresses anchored the construction securely. To demonstrate that the Gothic architectural principle had found its perfection, its “keystone”, in these flying buttresses, their tops were adorned with small, slender spires, so-called pinnacles, which consisted of a lower, four-sided base (the body) topped by a pyramid form (the giant). These pinnacles were eventually sectioned and decorated like the main spires, while the edges of the pyramids were trimmed with crockets, or leafy, bulbous formations; finally, their tips were crowned with a finial of four leaves.
6. Girart de Roussillon, Chanson de Geste: Construction Site, second half of the 15th century.
Nationalbibliothek, Vienna (Austria).
The combination of the interior rib vaulting and supporting pillars with the external system of flying buttresses is most pronounced in Amiens Cathedral. The walls of the nave no longer show any closed mass because Gothic architecture avoids large surfaces and aims to display the frame of the construction as clearly as possible. The lower wall of the nave is interrupted by arcades with pointed arches; likewise, the upper parts of the wall below the windows are set off by a narrow aisle, the triforium, which opens onto the nave with arcades.
The formation of pillars, which fulfil various tasks, also differs completely from the Romanesque method of construction. Their cylindrical core is reinforced with half or three-quarter columns. Along the longitudinal axis they carry the arcades; along the crossways axis they carry the vaults of the aisles on one side and the central vault on the other. The result is a cluster of pillars, which is a characteristic and innovation of Gothic style. This new formation of pillars is still kept together by a common capital, which, however, consists only of a wreath of loosely strung leaves and no longer represents the actual end of the pillar. The half and three-quarter pillars climb above the roof to carry the supporting arches and ribbed vaulting.
7. Western Façade, former Notre-Dame Cathedral, Senlis (France), c. 1151/1153–1191.
In situ.
8. The Parement de Narbonne (altar-hanging), c. 1375.
Ink on silk, 77 × 286 cm.
Musée du Louvre, Paris (France).
9. Ambulatory, Basilica of St. Denis (former Benedictine abbey church), Saint-Denis (France), 1140–1144.
In situ.
10. Western Façade, Basilica of St. Denis (former Benedictine abbey church), Saint-Denis (France), before 1140.
In situ.
The introduction of naturalistic foliage to the ossified forms of medieval ornamentation was a further essential innovation of the Gothic style. All these new designs proved to be very fruitful and would later lead to a renewal of the ornamental style, which had grown rigid from its relentless study of Antiquity. The overall delight in nature was awakened in the hearts of medieval people by courtly minnesong and commoners’ didactic poetry. Both influenced stonemasons, too, who wanted to test their skills with chisel and hammer in the imitation of local leaf and plant formations. Oak, ivy, acorn and vine leaves were complemented by flowers that were particularly dear to the stonemasons. These leaf and plant ornamentations, which were further refined by being painted naturalistically, spread not only over the capitals, but also over ledges and portal walls; they also framed empty surfaces. However, over the course of the Gothic period, this study of nature diminished. Once accomplished, the ornamentation forms were thoughtlessly repeated until bulbs and buds appeared only in outlines and finally the memory of their model, which had been culled from nature, completely vanished.
Similar was the fate of the shafts and bars that structured the window openings and gave them outward closure. Originally, these window ornaments had only been a web of stone poles, but with time they developed into a well ordered system. Within the outer pointed arch that encompassed the entire window opening, stone bars rose from the window ledges. They sectioned the window into two to six fields and rejoined the top of the outer arch. The free space between these inner pointed arches and the outer main arch was filled with what is known as tracery, which consisted of stone circles and segments and was contained within a circumference. This technique created geometrical figures of great variety. The segments were at first arranged around a circle like three- and four-leafed clovers. The latter is called a quatrefoil. However, towards the end of the Gothic era, the number of leaves increased to six and eight. The outer arches were further heightened with pointed ornamental gables, known as Wimpergs, the sloping rims of which were studded with crockets and peaked in a finial. The surface of the gable was also filled with tracery. The richest tracery designs can be found in the round windows that are usually located above the central portal of the western façades between the towers. These rose windows were the centre pieces of decoration. The rose window of Strasbourg Cathedral is particularly famous.
11. Plan of Notre-Dame Cathedral, Paris (France).
The changes that Gothic architecture brought to the ground plans of churches are less drastic and revolutionary. The basic form of the basilica was adopted from the previous Romanesque style and only expanded in some details. The cross-shaped ground plan was the norm; only the arms of the transepts did not always reach beyond the side walls of the nave. In the Late Gothic the transept was often discarded altogether. The nave was usually three aisled and even five aisled during the highest developmental stage of the Gothic. The best example is Cologne Cathedral.
The Gothic really only reinvented the formation of the choir. Since crypts were no longer built, the choir was no longer separated from the nave, but instead considered to be a continuation. The choir no longer ended in a half circle, but in a polygon. If the aisles led around the choir, they created an ambulatory. However, this was extended even further in the French Gothic: around the entire choir end, a series of chapels was added to the outer wall of the ambulatory. This chevet rendered the choir the most important part of the entire construction. The master builders of Cologne Cathedral also adopted such a chevet. When a new Gothic cathedral was built or a Romanesque one rebuilt, the first concern was usually the choir. The master builders and their clients invested most of their enthusiasm in it, not least because their main worry was housing the main altar as well as the local, often numerous clergy. Particularly in the initial, exuberant phase the funds provided by the princes of the Church flowed freely. Later, when these funds dried up, citizens were also forced to contribute. Consequently, the enthusiasm strongly diminished under the pressure of ecclesiastical