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Introduction: Gothic cathedrals
are in many ways the embodiment of the Late Middle Ages. Soaring into the
sky, the carved stone vaults and spires of such architectural masterpieces
as
Chartres
Cathedral (fig.1) appear to reach toward heaven.
If religious ideals of the era sought
otherworldly paradise, practical accomplishments displayed high standards
of craftsmanship. Both are expressed in the cathedrals of northern France,
where the Gothic style first came to fruition. Adorned with an abundance
of sculpture on the exterior (fig.2) and jewel-like stained glass windows
within, the Gothic cathedrals arose during
a period of great economic prosperity in Europe between AD 1050-1350. Three
main aspects are notable: the
architecture,
sculpture, and the
literary
culture of the period.
The term "Gothic" was first used as a
derogatory term for Late Medieval art and architecture by Italian architect
and art historian Giorgio Vasari (1511-1574). Contrasting medieval art with
that of the ancient Greeks and Romans, Vasari  named the medieval style after
the "barbaric" Goths, whose migrations and wars contributed to the fall of
the Roman empire. Eventually, the associations with "Gothic" became more
positive. The late 18th century German writer Johann von Goethe praised the
organic style and structural achievements of medieval church architecture.
By the mid 19th century, Gothic remains had been transformed into romantic
settings by writers such as John Ruskin (1819-1900) and Victor Hugo, whose
1831 novel The Hunchback of Notre Dame immortalized the cathedral.
Fig.1: The Gothic cathedral at Chartres,1194-1235 (photo:
Athena Review).
Today the term Gothic is used by art
historians to specifically refer to the architecture of European cathedrals
in the 12th-15th centuries, which replaced Romanesque methods of construction.
Much of the fascination with the Gothic period stems from its intricately
stylized decorations and brilliant stained-glass windows (see
Chartres),
combined with often highly realistic sculptures as seen at Reims, in cathedrals
whose verticality reached and sometimes even crossed the limits of technical
feasibility.
Yet Gothic architecture, sculpture, and
stained glass comprise only the most visible remains of an era which also
included major innovations in literature, poetry, and music. Alongside the
building of cathedrals developed the art of courtly love, the telling of
fabulous lais (short narrative tales) and romances, and the ribald songs
of troubadours and vagabond poets. Eventually, the Gregorian music of the
church was extended to secular poetry and even satire, through the refinements
of the Ars Nova.
Such innovations in religious centers,
and patronage of the arts, were supported by major economic, political, and
intellectual changes during the 12th and 13th centuries, representing a
florescent period in European history. The cost of building
a Gothic cathedral was immense, and could take a hundred years or more to
build (see
Schöller). Underlying this was
a phase of sustained economic prosperity in northern Europe beginning by
AD 1050, when agriculture and the textile industry flourished, and related
commerce expanded through river transport and market towns, to a degree not
seen in northern Europe since the Roman era (Pirenne 1936). Complex long-distance
trad e contacts within Europe, and influences from Islamic sources in Spain
and the eastern Mediterranean, stimulated the further economic and technical
development of Europe. The circulation of wealth within northern France,
the heartland of the Gothic cathedral, was facilitated by an expanding money
economy and national coinage implemented ca. 1180 by the Capetian king, Philippe
Auguste, leading not only to cathedral construction but to the establishment
of the first universities, hospitals, and welfare institutions, as well as
the burgeoning of mercantile and trade sectors (see
Paris under the Capetians).
Fig.2: Gothic sculpture from the north transept
of Chartres Cathedral, portraying Old Testament figures. Left to right:
Melchizedeck, the Old Testament priest; Abraham with his son Issac; and Moses
holding the tablets of the old law (photo: Athena Review). The Capetian dynasty began with the Parisian
count Hugh Capet, king of France from AD 987-996. Before the end of the 12th
century, the power of the French monarchy was confined to the region around
Paris, parts of the channel region, and several bishoprics under royal control.
Since the 10th century, Normans had settled the northwestern region of France
(now Normandy), which was ruled by the English in the 12th century. Most
of today's France was under the control of local dukes and counts with differing
loyalty towards the king. Nevertheless, the king's royal status was acknowledged
by the nobility. His divine right to rule was confirmed by coronation ceremonies
at Reims where he was anointed with holy oil.
During the reign of Philippe Auguste,
more provinces were assimilated across northern France and Flanders, including
the prosperous region of
Picardie.
In this textile manufacturing zone arose several of the most important early
Gothic cathedrals: the capital at
Amiens,
Senlis,
Noyon, Laon, Soissons, and
Beauvais.
Apart from the architectural and sculptural
creations as well as the prosperity of the Gothic era, there was of course
a much darker face of the late Middle Ages, revealed in almost countless
wars stemming from political instability, abuse of political or ecclesiastical
power, and a relative lack of rights and poverty of vast parts of the society.
Virtual lack of medical knowledge promoted numerous epidemics including the
bubonic plague, leading to a short average lifespan. The contrast between
the rich and poor, between the nobility and commoner, was as marked in economic
terms as that between the saved and the damned in religious terms, as shown
in the Last Judgment portals of many Gothic cathedrals. By the early 14th
century, political satire reflecting the corrupt administration of rulers
such as Philip IV in Roman de Fauvel had become a popular means of
expression. There is also a lighter side to the medieval mentality as revealed
by the poets of the
Carmina Burana.
Discussion of the Gothic period will
focus on several of the great cathedrals of northern France and their
towns. The depth of architectural and sculptural innovation, artistic
skill, and
imagery at these sites should help reveal the unique outlook of the
period.
References:
Pirenne, H. 1936. A History of Europe. (tr. B. Miall). New
Hyde Park, New York, University Books.
Williamson, P. 1995. Gothic Sculpture. New Haven and London,
Yale University Press.
This article appears on pages 17-20 of Vol.4 No.2 of Athena
Review.
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