The Politics of the Gothic Form

Charles H. Moore wrote in his work entitled Development and Character of Gothic Architecture, that “the Gothic monument, though wonderful as a structural organism, is even more wonderful as a work of art.” Gothic architecture plays an irreplaceable role in the history of society through its use of structural and artistic design. Whether it is the verticality of the ceilings which draw people’s attention towards the heavens, or the grotesque faces painted upon the columns which give each church or palace its own distinct personality, the buildings of this architectural era have an impact on the people and places that surround them.

With the birth of Gothic architecture in the fourteenth century many scientific and mathematical factors were taken into account to redesign the style in which buildings were constructed. These changes were designed not only for structural purposes but also for societal purposes. Many structural distinctions exist that clearly categorize a building as Gothic. Some of the most significant changes include the height of buildings, the flying buttresses, the ribbed vaults or the ogee arches. The primary significance being that with the new additions of these features upon buildings, palaces, and churches, they were able to reach new heights without adding unbearable amounts of structural weight. This is something that is particularly important in Venice where the weight of buildings is more significant than in some other areas of the world due to the structure of the city as a whole.

A person’s standing in society was another aspect portrayed by the Gothic architecture. If one walks into a church with towering spires and large windows or painted designs towards the ceiling then they are inevitably going to have their gazes directed upwards. This reminds them of the omnipotence of God and the meagerness of humanity in comparison. One great example from Venice itself is la Basilica di Santa Maria Gloriosa dei Frari. This exquisite Gothic church, which takes the title of a minor basilica, clearly makes one aware of the presence of God. The same can be said for Gothic architecture in palaces. When an outsider approaches this building they will sense that power resides within it. The architecture alone is thought to be capable of emitting this aura of power although Foucault would disagree by saying that power is only a factor when people make it one. The grandness of the door alone to Ca’ D’Oro emits power. However, some such as Ruskin would be more willing to say that the importance of the Gothic form should be credited to the artistic details.

Once someone is able to see past the pointed arches and towering heights of a Gothic building, the miniscule and tedious details will capture them. The beauty of the Gothic style is within the details. Walking through the streets of Venice one can miss the intricate workings on the columns and buildings altogether, but a vast amount of the beauty is in turn lost. That is something special to Gothic style. It replaces the grandness of the gold mosaics, like those that we see at St. Mark’s Basilica, and the domes of the Byzantine style with imperfections and the unique artistic flairs of the workers.

Gothic architecture, as stated by Ruskin, is savage, grotesque, rigid, and filled with nature, among other things. It is this whole idea that reforms what it means to be beautiful. The unevenly carved lion that used to be the rejected sculpture is now put atop a Venetian doorway for all to see. All of these things define Gothic and give a building meaning in addition to the structural differences.

When looked at as an entire work of art, a Gothic building can leave a different impression upon its viewer than the original one imposed by the structural aspects. Ruskin is a tremendous advocate for the imperfections of the Gothic form because he sees art as an expression of the worker. In his writing The Stones of Venice he says that “accurately speaking, no good work whatever can be perfect, and the demand for perfection is always a sign of a misunderstanding of the ends of art.” When one takes away the imperfections created by the laborer, he takes away the true spirit of the hand that formed it. Each sculpture is formed by a hard working hand and each portrait is painted with meaning. Ruskin believes that each piece of work has a story behind it and the Gothic form embraces that ideology. When one takes the time to perceive these meticulous details they are able to have a greater respect for the art because they can visualize the true essence of the place.

Gothic architecture was filled with innovative building styles and revolutionized the view of imperfections of manual labor. All of the aspects of this popular fourteenth and fifteenth century architecture, when combined together, can embody a whole range of ideas. Through the structural patterns and the ornate workings which cover parts of these buildings, a certain understanding of the space fills the streets. Perhaps at first glance the architecture insinuates power or maybe it gives an appreciation for the beauty of the savageness within the art. Nonetheless, Gothic form is thoughtfully designed to bestow a certain presence upon a society.