Reasons for the Development of Gothic Architecture

Reasons for the festering of Gothic architectureDiscuss the reasons for the festering of the Gothic cathedral and relieve how grammatical constructional tasks were overcomeThe Gothic cathedral originates from twelfth ascorbic acid France where experimentation with root new ideas about geometry witnessed a r growth in ecclesiastical computer architecture. The development of the Gothic style of architecture was not a sudden rendering it evolved over a long period, developing aspects of the Romanesque era which preceded it. Romanesque is characterised by a use of round or slightly pointed arches, barrel vaults, cruci var. piers, accompaniment vaults, and groin vaults.1 In the Gothic cathedral a with child(p)er fierceness was placed on verticality, featuring structures with great expanses of glassful, sharply pointed spires, cluster columns, fast buttresses, costate vaults, pointed arches and imaginative sculptural detail.2The Abbey Church of St. Denis, where St. Deniss fa mous and influential abbot Suger enjoin a west front in 1137, is thought to be the birthplace of the Gothic cathedral3. St. Denis was not a cathedral but the work thither appears to have inspired refurbishment to the new Gothic style of a large number of Romanesque cathedrals in the surrounding greater Paris turning point much(prenominal) as Sens (1140s), Notre Dame of Paris (1160), Chartres (1194), and Beauvais (1226).4 The rediscovery of Eastern architectural styles and construction techniques by Crusaders returning from the Holy Land contributed to these developments in France.5 For example, the flying buttress was a late Roman invention which was copied by the Arabs, and after incorporated into what we now know as Gothic.6Ecclesiastical architecture was adept of the most each(prenominal) important(predicate) statements of king, wealth and respect, and during the twelfth century when royal power was struggling to reassert itself, cathedral building was seen as a look o f regaining the trust and admiration of the public. As Victor Hugo said of Notre-Dame separately face, each st whizz of this venerable monument is not only a page of the history of the country, but as well of the history of knowledge and art. clip is the architect, the people are the builder.7The complex architectural design of Notre-Dame reflects the influences of the rulers of the time and illustrates how important the construction of the early Gothic cathedral was to the leading powers of the country. During the reign of Louis VI and Louis VII the monarchy began to establish itself as a predominant power and contrary other regions of France where powerful counts supported the construction of monasteries and cathedrals, the Greater Paris basin had experienced minimal development of its ecclesiastical architecture. As Scott says The absence of a recent regional style, combined with the fact that most abbeys and cathedrals in the Greater Paris Basin were old and in disrepair, cre ated an opportunity for wholesale change of performes that could not have arisen elsewhere.8 cathedral building was to transcend its humble beginnings of the ideas of Abbot Suger, gradually transforming the earlier Romanesque style into some skimpyg entirely new. The new style evolved crossways northern France and in1174 marked its arrival in England during the rebuilding of the twelfth century choir at Canterbury. The relationship between England and France was close compared to other countries numerous extravagantly-ranking clergymen of twelfth-century England were French, and others who were English by birth had been educated at the great cathedral schools of France, such as Chartres and Notre Dame. Furthermore, in England, where the trend of post-Norman invasion architecture was coming to an end, there was a niche for a new style. As centre of the head of the Church of England, Canterbury Cathedral inspired the Gothic church building movement in England. The choir, which ha d been gutted by fire, was rebuilt as a inclose of the murdered archbishop, St. Thomas Becket. Cathedrals which followed the Gothic design included Chichester (c. 1187), Winchester (c. 1190), Lincoln (c. 1192), and Llandaff, Wales (c. 1193).9Constructional ProblemsThe curl size and volume of the masonry involved presented problems during the construction of Gothic cathedrals. In smart set to reach the great heights of the cathedrals elaborate scaffolds were needed, which were made of wood, together with force systems. These materials would have suffered in bad weather, and during the winter coverings would have been put up so that some progress could be made.10The features of the evolving Gothic style such as the large stained-glass windows, the flying buttresses, and ribbed vaults perhaps caused the most problems during construction. bigger windows were desired to allow more light than traditional styles. This meant that the buildings had to be taller utilise flying buttresse s to support higher ceilings with rib vaults to support. Although funded by the clergy, large ordered series projects still relied on limited resources. Costs of quarrying and transporting stone were high so in compensation vaults were made thinner.11 Unfortunately this meant that vaults coll apsisd, and it was only with a process of experimentation and learning that these problems were overcome. The roof supports had to be aesthetically pleasing as well as functional. In France it was practice to thin the supports, and arrange them as integral parts of an articulated system, of which the ribbed vaults were the crown feature, (which) imparted a new vitality and dynamic quality.12 In addition to this, the shafts sustenance the cross-arches were often brought out and given greater distinction. The introduction of rib vaults also meant that secondary shafts were needed to support them.13The demand for light and stained glass meant a deviation from traditional circular designs in w indow surrounds. At Laon, the circular design of the window surround was incongruous with the flat come along of the glass.14 At the same time a similar aesthetic encroach had sprung up between the rib-vault in the apse and its semicylindrical form. The development of the polygonal apse meant that these problems could be resolved. As Frankl explains itEven seen at an angle, a semicylindrical apse depart always appear frontal, whereas in a polygonal apse, though one may stand frontally to one side, one will always see slanting sides at the same time. Several images are seen simultaneously, and all are included in the optical impression of the whole.15This solution to the problem is a fine example of how Gothic architecture experimented with appearance and form designs became ambitious and it was the duty of the architect and builders to try and fulfil them. In conclusion, the evolution of the Gothic cathedral was an expensive and dynamic phenomenon which was driven by the comman d powers of the lands. As the buildings represented so much to both the prelates and the public the problems encountered during construction appear to have been a serious challenge, albeit one accepted by the society of the time.BibliographyFrankl, P., 1962, Gothic Architecture. Baltimore, MD PenguinDavidson, C, 2002, Abbeys and Cathedrals. (http//www.bbc.co.uk/history/lj/churchlj/cathedral_04.shtml)Davis, M. T., 1998, Splendor and Peril The Cathedral of Paris, 1290-1350. The Art Bulletin, Vol. 80Harvey, J, 1950, The Gothic World, 1100-1600 A Survey of Architecture and Art. capital of the United Kingdom B. T. Batsford LtdScott, R.A, 2003, The Gothic Enterprise A scat to Understanding the Medieval Cathedral. calcium University of California PressThe well-disposed minimise of Gothic Cathedrals. 2004, Architectural acquaintance Review. Volume 47. Issue 2. University of Sydney, efficacy of Architecture Gale GroupOnline cyclopaedia (http//en.wikipedia.org/wiki/Romanesque)Online encyclopaedia (http//en.wikipedia.org/wiki/Gothic_CathedralCharacteristics)11 Online encyclopaedia ( http//en.wikipedia.org/wiki/Romanesque)2 Online encyclopaedia (http//en.wikipedia.org/wiki/Gothic_CathedralCharacteristics)3 Scott, R.A, 2003, The Gothic Enterprise A Guide to Understanding the Medieval Cathedral. California University of California Press, p.12.4 Ibid, p.12-13.5 Davidson, C, 2002, Abbeys and Cathedrals. (http//www.bbc.co.uk/history/lj/churchlj/cathedral_04.shtml)6 The Social Background of Gothic Cathedrals. 2004, Architectural Science Review. Volume 47. Issue 2. University of Sydney, Faculty of Architecture Gale Group, p.209.7 Quoted from Davis, M. T., 1998, Splendor and Peril The Cathedral of Paris, 1290-1350. The Art Bulletin, Vol. 80.8 Scott, R.A, 2003, The Gothic Enterprise A Guide to Understanding the Medieval Cathedral. California University of California Press, p.13.9 Ibid, pp.14-15.10 Davidson, C, 2002, Abbeys and cathedrals. (http//www.bbc.co.uk/history/lj/ churchlj/cathedral_04.shtml)11 The Social Background of Gothic Cathedrals. 2004, Architectural Science Review. Volume 47. Issue 2. University of Sydney, Faculty of Architecture Gale Group, p.209.12 Harvey, J, 1950, The Gothic World, 1100-1600 A Survey of Architecture and Art. London B. T. Batsford Ltd, p.59.13 Ibid, p.59.14 Frankl, P., 1962, Gothic Architecture. Baltimore, MD Penguin, p.42.15 Ibid, p.43.