Gothic Architecture and Medieval Architecture

Gothic architecture can be defined from a style of architecture which flourished during the high and late medieval period. It evolved from Renaissance architecture. Gothic architecture has three distinct characteristics which set it apart fro Romanesque; point arches, ribbed vault, and flying buttresses. Originating in 12th-century France and lasting into the 16th century, Gothic architecture was known during the period as "the French Style" with the term Gothic first appearing during the latter part of the Renaissance as a stylistic insult.

Gothic architecture is most familiar as the architecture of many of the great cathedrals, abbeys and parish churches of Europe. It is also the architecture of many castles, palaces, town halls, guild halls, universities, and to a less prominent extent, private dwellings. The essential character of the Gothic period, particularly at the outset, was the predominance of architecture; all the other arts were determined by it. The character of the Gothic visual aesthetic was one of immense vitality; it was spikily linear and restlessly active. Informed by the scholasticism and mysticism of the Middle Ages, it reflected the exalted religious intensity, the pathos, and the self-intoxication with logical formalism that were the essence of the medieval. Gothic style was the dominant structural and aesthetic mode in Europe for a period of up to 400 years.

It is generally agreed that Gothic architecture made its initial appearance in the Île-de-France, the royal domain of the Capetian kings. However, the inception of the style owes much to several generations of prior experimentation. Although individual components in Gothic architecture, such as ribbed vaulting and the pointed arches had been employed in Romanesque construction, they had not previously received such a purposeful and consistent application. While the structural value of the Gothic rib has been contested, its formal significance cannot be overestimated. It served above all to delineate the vaults with a skeletal web that gave to the entire structure an articulation of impressive clarity.

Unlike Romanesque architecture, with its stress on heavy masses and clearly delimited areas, Gothic construction, particularly in its later phase, is characterized by lightness and soaring spaces. The overall effect of the Gothic cathedral combined this lightness with an innumerable subdivision and multiplicity of forms. The introduction of a system of flying buttresses made possible the reduction of wall surfaces by relieving them of part of their structural function. Great windows could be set into walls, admitting light through vast expanses of stained glass. Wall surfaces of High Gothic churches thus have the appearance of transparent and weightless curtains. The spiritual and mysterious quality of light is an important element of the religious symbolism of Gothic cathedrals.

In plan the High Gothic cathedral remained faithful to the traditional basilican form. It consisted of a central nave flanked by aisles, with or without transept, and was terminated by a choir surrounded by an ambulatory with chapels. These elements, however, were no longer treated as single units but were formally integrated within a unified spatial scheme. The exterior view was frequently dominated by twin towers. The facade was pierced by entrance portals often lavishly decorated with sculpture, and at a higher level appeared a central stained glass rose window. Additional towers frequently rose above the crossing and the arms of the transept, which often had entrance portals and sculpture of their own. Around the upper part of the edifice was a profusion of flying buttresses and pinnacles.

Monumental fresco painting was rare in the Gothic period except in Italy, where the massive walls remained instead of yielding to the tall skeletal structure found elsewhere. In the rest of Europe stained glass and tapestry assumed greater importance and showed a stylistic development analogous to that of sculpture.

Another aspect of Gothic painting was manuscript illumination , in which text and pictures formed a united composition. From the beginning of the 13th cent., illuminations were done for the courts by lay schools. The Paris school achieved a perfection which made it the center of Gothic painting for nearly two centuries. English miniatures are often indistinguishable from the French in this period. The painters of the Avignon school flourished from 1309, when the papal court was moved there from Rome. This school produced one work, a Pietà from Villeneuve-lès-Avignon, of such originality of expression that it stands outside the established categories of Gothic painting.