Early English Gothic

“ That which we are to watch is the struggle of the old and the new: the encounter of the new spirit steeped in classical learning, with the old Gothic traditions and methods.
The great monuments of English Gothic architecture are to be found in ecclesiastical buildings; those of the succeeding phase are domestic in character. The change of thought in religious matters, which was proceeding all through the sixteenth century, was not favourable to church building, and [5] after the dissolution of the monasteries by Henry VIII. no more churches were built. ”

“ This choir of Canterbury (Fig. 71) is the real beginning of what Gothic there is in the pointed architecture of England. From it, as the main source at least, is derived what is commonly known as the Early English style. It is in five bays, and is vaulted with one quadripartite and two sexpartite compartments. These vaults are provided with transverse and diagonal ribs, but are without longitudinal ribs. The transverse ribs only are pointed. The vaulting shafts correspond in number with the ribs to be carried—there being three in the main group and but one in the intermediate pier. ”

“ The design of Italian Gothic buildings presents many peculiarities, some of which are due to the materials made use of. For example, where brick and terra-cotta are alone employed, wide moulded cornices of no great projection, and broad masses of enriched moulding encircling arches are easily executed, and they are accordingly constantly to be found; but bold mouldings, with deep hollows, similar to those of Early English arches, could not be constructed of these materials, and are not attempted. ”

“ The Decorated style differs from the Early English in its windows, which, instead of being lancets, or having tracery of the simplest forms, had the head entirely filled with tracery, either of geometrical forms, or ramifying from the mullions in the most easy and graceful manner, and in every variety of design; and the same character will distinguish them from the next, or Perpendicular style, in which the mullions are carried through in perpendicular lines to the head of the window.
In the Decorated style, Gothic architecture seems to have attained its greatest excellency ”

“ There is thus a marked difference between the adapted naturalism which gave life to early Gothic ornament, and the imitative naturalism which marks the decline of Gothic art.
How, it may be asked, are we justified in ascribing to this early Gothic ornament such supreme merit? Why is it, if the influence of nature adds anything of value to art, that direct and complete imitation, so far as possible, is not good? How can there be any such thing as over-naturalism in sculpture? ”

“ In adopting the Renaissance style as a motive in interior decoration, England lagged behind the Continental nations. Such English mansions and furniture as remained after the Wars of the Roses were all of the Gothic type; and with no other models available, it was but natural that the first efforts of English workmen, after art began to revive, should be Gothic in feeling. ”

“ Of the considerable number of more recent English writers on Gothic art few, if any, have contributed towards a more just apprehension of its principles. English writers generally have understood by Gothic merely a style of building in which pointed arches take the place of round ones, and in which mouldings and other details are treated in a peculiar way. Hence, in treating of the evolution of Gothic, English writers, with hardly an exception, confine themselves to the consideration of these subordinate things. ”

“ I presume that the fallacy of regarding the Gothic style of Art as exclusively ecclesiastical in its associations and uses, or as no less necessarily inseparable from mediæval sentiments and general usages, is beginning to give way to more correct views, as the true nature of the Gothic and its original universal employment are better understood. ”

“ THE term Gothic was applied originally as one of contempt in the fifteenth century by the architects of the Renaissance, who attempted to reproduce the ancient architecture of Rome, and considered Mediæval Art, which had ruled all departments of design throughout Europe during the three preceding centuries, to be no better than the invention of the Barbarians, the Goths, and the Vandals, who overran the Roman Empire in the fourth century. During the three previous centuries the persecuted converts to Christianity were driven to take refuge in any hiding-place available. ”

“ English Gothic is quite distinct from its French ancestor, and while it has defects it has beauties, that are all its own, and a simplicity and grandeur, well suited to the more rugged character of the people among whom it developed. Italian Gothic has less merits, perhaps, than any of the other forms of the art that developed in the different nations. ”

“ In France, from a French standpoint,—or, for the matter of that, from a Greek standpoint,—Shakespeare must always be a barbarian. It is the same feeling—though not indeed in so great a degree—that one experiences when one looks at the picturesque disorder and irregularity of English Gothic churches from the standpoint of the severely ordered majesty of Chartres, or even of Amiens, which yet has so much about it that recalls its neighbourhood to England. From the right standpoint, however, English Gothic architecture is full of charm, and even of art. ”

“ Early in the twelfth century was brought about in Northern Gaul that fine balance of ethnologic, religious, social, and political influences of which the development of Gothic architecture is among the happiest results. But with the quickly succeeding disturbance of this nice adjustment of conditions the character of the art gradually changed, and a course of decline became inevitable and rapid. If we would truly know Gothic art we must study it in the vigour of its early life. ”

“ They are monoliths of slender proportions, though heavy enough for their work, which is considerable. They taper a little and have a slight entasis—a lingering characteristic of ancient art which appears also in several other early Gothic buildings. Their capitals are considerably advanced towards Gothic form by spreading to receive, upon an ample abacus surface, the threefold load of transverse, longitudinal, and diagonal ribs. It is to be regretted that we have now no means of ascertaining what were the forms of the choir vaults and what was their system of supports. ”

“ The mummeries of the pagan priests were childish, but the Gothic enchanters shook and alarmed all nature. . . You would not compare the Canidia of Horace with the witches in 'Macbeth.' And what are Virgil's myrtles, dropping blood, to Tasso's enchanted forest?. . . The fancies of our modern bards are not only more gallant, but . . . more sublime, more terrible, more alarming than those of the classic fables. In a word, you will find that the manners they paint, and the superstitions they adopt, are the more poetical for being Gothic. ”

“ There are hardly any of the magnificent and serene constructions of the early Gothic which have not, in the course of time, been gradually thinned and pared away into these skeletons, which sometimes indeed, when their lines truly follow the structure of the original masses, have an interest like that of the fibrous framework of leaves from which the substance has been dissolved, but which are usually distorted as well as emaciated, and remain but the sickly phantoms and mockeries of things that were; they are to true architecture what the Greek ghost was to the armed and living frame ”

“ In England the semi-circular apse, towards the close of the style, gradually gave place to the square apse, which was more generally adopted.
Gothic.—Fourth to Twelfth Century.—Another great and early factor in ecclesiastical architecture is the Gothic. In the early stages of Christianity, the Goths, a Teutonic race, dwelt between the Elbe and the Vistula. They subverted the Rome Empire. They, like other countries, received the Christian religion from Rome. Each country after its own fashion endeavoured to imitate the architecture of Rome. ”

“ It is unfortunate, but none the less true, that a very large majority of those who follow after Gothic art, both as students and admirers, have somehow or other been led into the belief that the first principle, the essence of the soul of Gothic, is irregularity. ”

“ No well-educated traveller is now without some consciousness of the meaning of what is commonly and rightly called "purity of style," in the modes of art which have been practised by civilized nations; and few are unaware of the distinctive aims and character of Gothic. The purpose of a good Gothic builder was to raise, with the native stone of the place he had to build in, an edifice as high and as spacious as he could, with calculable and visible security, in no protracted and wearisome time, and with no monstrous or oppressive compulsion of human labour. ”

“ It is not true that the eighteenth century was entirely indifferent to Gothic architecture, for an occasional word of praise for Gothic is already heard in the first half of the century, and after the middle of the century Gothic architecture has no lack of defenders. ”

“ But rudeness is by no means a characteristic of Gothic, which is not a product of unmixed Northern genius. For, by the time that Gothic architecture had begun to take form, the mingling of races, that had long been going on, had produced,, in the locality where this art first appeared, a people in whose constitution were happily blended some of the finest characteristics of the Latin and Germanic stocks. It was this people who developed the Gothic style and gave to its marvellous constructive system an equally new and appropriate system of adornment. ”

“ The minds of the composite nations that arose in Europe had no guide. Men were left to their own instincts, only faintly aided by the ruins and traditions of degenerate Rome; and each series of countries had its own style of art, framed or adopted by the genius of the people. During the middle ages, the style most general in Northern Europe was the Gothic ”

“ There are not wanting signs that even in architecture, in which the greatest and most permanent traces of medieval genius are found, the world is growing a little impatient of Gothic buildings, whether as imitative creations or as the claimants of exclusive orthodoxy in their art ”

“ Dwarfed trees and crooked serpents, heavy flowers and hunchbacked birds accentuate by the very splendour and contrast of their colour the servility and monotony of their shapes. It is like the vision of a sneering sage, who sees the whole universe as a pattern. Certainly no one ever felt like this about Gothic, even if he happens to dislike it. Or, again, some will say that it is the liberty of the Middle Ages in the use of the comic or even the coarse that makes the Gothic more interesting than the Greek. ”

“ In every branch of art antiquity had proved itself a foe, until at last the Renascence was sufficiently mature to assimilate and overcome the antique inheritance so completely that it became an excellent fertiliser for the new art. The essence of the Gothic style is the dissolution of all that is heavy and material—the victory of spirit over matter. ”

“ With greater knowledge of nature, both geographical and scientific, fresh styles of architecture may and will arise, as much more beautiful, and as much more natural, than the Gothic, as Gothic is more beautiful and natural than the Norman. Till then we must take the best models which we have; use them; and, as it were, use them up and exhaust them. By that time we may have learnt to improve on them; and to build churches more Gothic than Gothic itself, more like grot and grove than even a northern cathedral. ”

“ Exactly in the same manner, we shall find that Gothic architecture has external forms, and internal elements. Its elements are certain mental tendencies of the builders, legibly expressed in it; as fancifulness, love of variety, love of richness, and such others. Its external forms are pointed arches, vaulted roofs, &c. And unless both the elements and the forms are there, we have no right to call the style Gothic. It is not enough that it has the Form, if it have not also the power and life. It is not enough that it has the Power, if it have not the form. ”

“ Even a likeness to individual species of vegetation soon makes its appearance in the growing style; and an extensive range of flora—answering, in some cases, to that of the locality in which the work was wrought—is used to adorn the Gothic building. But the life derived from nature which appears in Gothic sculpture is no more an independent development than is the constructive system. The elements of Gothic ornament may almost all be traced back to the arts of antiquity. ”

“ Gothic art is not an art of barbarians, as the pseudo-classicists of the Renaissance would have us suppose. It is far otherwise. It is the art of that civilised people which grew up, through generations of conflict and mutual interchange of thought, out of the fusion of Northern and Southern blood. ”

“ The evils that beset the lives and tempt the souls of men had to be in some way set forth, no less than the good things which he is permitted to enjoy. The unhappy lot of the wicked had to be figured as well as the felicities of the good. Hence conspicuous elements in Gothic sculpture, especially after the beginning of the thirteenth century, are the monstrous and the grotesque. Elements which, in true Gothic—though sometimes, perhaps, introduced in a playful spirit,—have, in the main, a serious purpose. ”