Gothic Revival architecture

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Notable Gothic Revival edifices:

top: Palace of Westminster, London;
left: Cathedral of Learning, Pittsburgh;
right: Sint-Petrus-en-Pauluskerk, Ostend

The unifying style of Parliament Hill, Ottawa, is Gothic Revival

Gothic Revival (also referred to as Victorian Gothic, Neo-Gothic or Jigsaw Gothic, and when used
for school, college, and university buildings as Collegiate Gothic) is an architectural movement that
began in the late 1740s in England. Its popularity grew rapidly in the early 19th century, when
increasingly serious and learned admirers of neo-Gothic styles sought to revive medieval Gothic
architecture, in contrast to the neoclassicalstyles prevalent at the time. Gothic Revival draws features
from the original Gothic style, including decorative patterns, finials, scalloping, lancet windows, hood
mouldings, and label stops.

Gothic Revival architecture adorns the Yale University campus

Contents
[hide]

1Roots

2Survival and revival

o

2.1Decorative arts

3Romanticism and nationalism

4Gothic as a moral force

4.1Pugin and "truth" in architecture

4.2Ruskin and Venetian Gothic

4.3Ecclesiology and funerary style

5Viollet-le-Duc and Iron Gothic

6Collegiate Gothic

7Vernacular adaptations

820th century

921st century

10Appreciation

11Details of architectural elements

12Gallery
o

12.1Asia

12.2Australia and New Zealand

12.3Europe

12.4North America

12.5South America

12.6Africa

13See also

14Notes

15Further reading

16External links

Roots[edit]
The Gothic Revival movement emerged in 19th-century England. Its roots were intertwined with deeply
philosophical movements associated with a re-awakening of High Church or Anglo-Catholic belief
concerned by the growth of religious nonconformism.[citation needed] Ultimately, the "Anglo-Catholicicism"
tradition of religious belief and style became widespread for its intrinsic appeal in the third quarter of the
19th century. Gothic Revival architecture varied considerably in its faithfulness to both the ornamental
style and principles of construction of its medieval original, sometimes amounting to little more than

pointed window frames and a few touches of Gothic decoration on a building otherwise on a wholly 19thcentury plan and using contemporary materials and construction methods.[citation needed]
In parallel to the ascendancy of neo-Gothic styles in 19th-century England, interest spread rapidly to the
continent of Europe, in Australia, Sierra Leone, South Africa and to the Americas; indeed the number of
Gothic Revival and Carpenter Gothic structures built in the 19th and 20th centuries may exceed the
number of authentic Gothic structures that had been built previously.[citation needed]
The Gothic Revival was paralleled and supported by "medievalism", which had its roots
in antiquarian concerns with survivals and curiosities. As "industrialisation" progressed, a reaction
against machine production and the appearance of factories also grew. Proponents of the picturesque
such as Thomas Carlyle and Augustus Pugin took a critical view of industrial society and portrayed preindustrial medieval society as a golden age. To Pugin, Gothic architecture was infused with the Christian
values that had been supplanted by classicism and were being destroyed by industrialisation.[1]
Gothic Revival also took on political connotations; with the "rational" and "radical" Neoclassical style
being seen as associated with republicanism and liberalism (as evidenced by its use in the United States
and to a lesser extent in Republican France), the more spiritual and traditional Gothic Revival became
associated with monarchism and conservatism, which was reflected by the choice of styles for the rebuilt
government centres of the Parliament of the United Kingdom in London and Parliament Hill in Ottawa.
[citation needed]

In English literature, the architectural Gothic Revival and classical Romanticism gave rise to the Gothic
novel genre, beginning with The Castle of Otranto (1764) by Horace Walpole, 4th Earl of Orford, and
inspired a 19th-century genre of medieval poetry that stems from the pseudo-bardic poetry of "Ossian".
Poems such as "Idylls of the King" by Alfred Tennyson, 1st Baron Tennyson recast specifically modern
themes in medieval settings of Arthurian romance. In German literature, the Gothic Revival also had a
grounding in literary fashions.[2]

Survival and revival[edit]

Sacred Heart Church, Kszeg, Hungary

Gothic architecture began at the Basilica of Saint Denis near Paris, and the Cathedral of Sens in 1140
and ended with a last flourish in the early 16th century with buildings like Henry VII's Chapel at
Westminster. However, Gothic architecture did not die out completely in the 16th century but instead

lingered in on-going cathedral-building projects; at Oxford and Cambridge Universities, and in the
construction of churches in increasingly isolated rural districts of England, France, Spain, Germany, and
the PolishLithuanian Commonwealth.[citation needed]
In Bologna, in 1646, the Baroque architect Carlo Rainaldi constructed Gothic vaults (completed 1658) for
the Basilica of San Petronio in Bologna, which had been under construction since 1390; there, the
Gothic context of the structure overrode considerations of the current architectural mode. Guarino
Guarini, a 17th-century Theatine monk active primarily in Turin, recognized the "Gothic order" as one of
the primary systems of architecture and made use of it in his practice.[citation needed]
Likewise, Gothic architecture survived in an urban setting during the later 17th century, as shown
in Oxford and Cambridge, where some additions and repairs to Gothic buildings were considered to be
more in keeping with the style of the original structures than contemporary Baroque. Sir Christopher
Wren's Tom Tower for Christ Church, University of Oxford, and, later, Nicholas Hawksmoor's west towers
of Westminster Abbey, blur the boundaries between what is called "Gothic survival" and the Gothic
Revival.[citation needed]
In the mid-18th century, with the rise of Romanticism, an increased interest and awareness of the Middle
Ages among some influential connoisseurs created a more appreciative approach to
selected medieval arts, beginning with church architecture, the tomb monuments of royal and noble
personages, stained glass, and late Gothic illuminated manuscripts. Other Gothic arts, such as
tapestries and metalwork, continued to be disregarded as barbaric and crude, however Sentimental and
nationalist associations with historical figures were as strong in this early revival as purely aesthetic
concerns.[citation needed]

Imitation fan-vaulting in the Gothick Long Gallery at Horace Walpole's Strawberry Hill
German Romanticists (such as philosopher and writer Goethe and architect Karl Friedrich Schinkel),
began to appreciate the picturesque character of ruins "picturesque" becoming a new aesthetic
quality and those mellowing effects of time that the Japanese call wabi-sabi and that Horace
Walpole independently admired, mildly tongue-in-cheek, as "the true rust of the Barons' wars." The
"Gothick" details of Walpole's Twickenham villa, Strawberry Hill House begun in 1749, appealed to
the rococo tastes of the time, and were fairly quickly followed by James Talbot at Lacock Abbey, Wilts.
By the 1770s, thoroughly neoclassical architects such as Robert Adam and James Wyatt were prepared
to provide Gothic details in drawing-rooms, libraries and chapels and William Beckford's romantic vision
of a Gothic abbey, Fonthill Abbey in Wiltshire.[citation needed]
Some of the earliest evidence of a revival in Gothic architecture is from Scotland. Inveraray Castle,
constructed from 1746, with design input from William Adam, displays the incorporation of turrets. These
were largely conventional Palladian style houses that incorporated some external features of the Scots
baronial style. Robert Adam's houses in this style include Mellerstain and Wedderburn in Berwickshire
and Seton House in East Lothian, but it is most clearly seen at Culzean Castle, Ayrshire, remodelled by
Adam from 1777.[3] The eccentric landscape designer Batty Langley even attempted to "improve" Gothic
forms by giving them classical proportions.

A younger generation, taking Gothic architecture more seriously, provided the readership for J. Britten's
series of Cathedral Antiquities, which began appearing in 1814.[citation needed] In 1817, Thomas
Rickman wrote an Attempt...to name and define the sequence of Gothic styles in English ecclesiastical
architecture, "a text-book for the architectural student". Its long antique title is descriptive: Attempt to
discriminate the styles of English architecture from the Conquest to the Reformation; preceded by a
sketch of the Grecian and Roman orders, with notices of nearly five hundred English buildings.[citation
needed]
The categories he used were Norman, Early English, Decorated, and Perpendicular. It went
through numerous editions and was still being republished by 1881.

Gothic revival campus of the University of Mumbai, India, showing the Rajabai Clock Tower still
under construction in 1878.
Throughout the 19th and early 20th century, Gothic Revival was used across Europe, throughout the
British Empire, and in the United States for public buildings and homes for the people who could afford
the style, but the most common use for Gothic Revival architecture was in the building of churches.
Churches all over in the countries that were influenced by the Gothic Revival, small and large, whether
isolated in small settlements or in the big city, there is at least one church done in Gothic Revival style.
The largest[citation needed] and most famous[clarification needed] Gothic cathedrals in the U.S.A. are St. Patrick's
Cathedral in New York City and Washington National Cathedral (also known as "the Cathedral Church of
Saints Peter and Paul") on Mount St. Alban in northwest Washington, D.C.. One of the biggest churches
in Gothic Revival style in Canada is Basilica of Our Lady Immaculate in Ontario.[4]
Gothic Revival architecture was to remain one of the most popular and long-lived of the Gothic Revival
styles of architecture.[further explanation needed] Although Gothic Revival began to lose force and popularity after
the third quarter of the 19th century in the commercial, residential and industrial fields, some buildings
such as churches, schools, colleges and universities were still constructed in the Gothic style (here often
known as "Collegiate Gothic" style) which remained popular in England, Canada and in the United
States (the United States has the most of Gothic Revival style architecture for Schools and
Colleges/Universities) until well into the early to mid-20th century. Only when new materials, like steel
and glass along with concern for function in everyday working life and saving space in the cities,
meaning the need to build up instead of out, began to take hold did the Gothic Revival start to disappear
from popular building requests.[5]

Decorative arts[edit]

Inside the Basilica of the National Vow, Quito, Ecuador

The revived Gothic style was not limited to architecture. Classical Gothic buildings of the 12th to 16th
Centuries were a source of inspiration to 19th-century designers in numerous fields of work.
Architectural elements such as pointed arches, steep-sloping roofs and fancy carvings like lace ant
lattice work were applied to a wide range of Gothic Revival objects. Some examples of Gothic Revivals
influence can be found in heraldic motifs in coats of arms, painted furniture with elaborate painted
scenes like the[6] whimsical Gothic detailing in English furniture is traceable as far back as Lady
Pomfret's house in Arlington Street, London (1740s), and Gothic fretwork in chairbacks and glazing
patterns of bookcases is a familiar feature of Chippendale's Director (1754, 1762), where, for example,
the three-part bookcase employs Gothic details with Rococo profusion, on a symmetrical form. Sir
Walter Scott's Abbotsford exemplifies in its furnishings the "Regency Gothic" style. Gothic Revival also
includes the reintroduction of medieval clothes and dances in historical reenactments staged among
historically-interested followers, especially in the second part of the 19th century, and which have been
revived over a hundred years later in the popularity of so-called "renaissance fairs/festivals" in several
states (such as in Maryland, Pennsylvania and Virginia). Parties in medieval historical dress and
entertainment were popular among the wealthy in the 1800s but has spread in the late 20th century to
the well-educated middle class as well.[7]
By the mid-19th century, Gothic traceries and niches could be inexpensively re-created in wallpaper, and
Gothic blind arcading could decorate a ceramic pitcher. The illustrated catalogue for the Great
Exhibition of 1851 is replete with Gothic detail, from lacemaking and carpet designs to heavy machinery.
In 1847, 8,000 British crown coins were minted in proof condition with the design using an ornate
reverse in keeping with the revived style. Considered by collectors to be particularly beautiful, they are
known as 'Gothic crowns'. The design was repeated in 1853, again in proof. A similar, two shilling coin,
the 'Gothic florin' was minted for circulation from 1851 to 1887.

Romanticism and nationalism[edit]

French neo-Gothic had its roots in the French medieval Gothic architecture, where it was created in the
12th century. Gothic architecture was sometimes known during the medieval period as the "Opus
Francigenum", (the "French Art"). French scholar Alexandre de Laborde wrote in 1816 that "Gothic
architecture has beauties of its own",[8] which marked the beginning of the Gothic Revival in France.
Starting in 1828, Alexandre Brogniart, the director of the Svres porcelain manufactory, produced fired
enamel paintings on large panes of plate glass, for King Louis-Philippe's royal chapel at Dreux. It would
be hard to find[who?] a large, significant commission in Gothic taste that preceded this one, save for some
Gothic features in a handful of jardins paysagers.

Gothic faade of the Parlement de Rouen in France, built between 1499 and 1508, which later
inspired Neo-gothic revival in the 19th century

Saint Clotilde Basilicacompleted 1857, Paris

University of Glasgow's main building at Gilmorehill, Glasgowdesigned by Sir George Gilbert Scott,
1870

The French Gothic Revival was set on sounder intellectual footings by a pioneer, Arcisse de Caumont,
who founded the Societ des Antiquaires de Normandie at a time when antiquaire still meant a
connoisseur of antiquities, and who published his great work on architecture in French Normandy in
1830 (Summerson 1948). The following year Victor Hugo's historical romance novel Hunchback of Notre
Dame appeared, in which the great Gothic cathedral of Paris was at once a setting and a protagonist in
a hugely popular work of fiction. Hugo intended his book to awaken a concern for the surviving Gothic
architecture left in Europe, however, rather than to initiate a craze for neo-Gothic in contemporary life. In
the same year that Notre-Dame de Paris appeared, the new French restored Bourbon monarchy
established an office in the Royal French Government of Inspector-General of Ancient Monuments, a
post which was filled in 1833 by Prosper Merime, who became the secretary of a new Commission des
Monuments Historiques in 1837. This was the Commission that instructed Eugne Viollet-le-Duc to
report on the condition of the Abbey of Vzelay in 1840. Following this, Viollet le Duc set to restore most
of the symbolic buildings in France including Notre Dame de Paris, Vzelay, Carcassonne, Roquetaillade
castle, the famous Mont Saint-Michel on its peaked coastal island, Pierrefonds, and Palais des
Papes in Avignon. When France's first prominent neo-Gothic church[9] was built, the Basilica of SaintClotilde,[10] Paris, begun in September 1846 and consecrated 30 November 1857, the architect chosen
was, significantly, of German extraction, Franois-Christian Gau, (17901853); the design was
significantly modified by Gau's assistant, Thodore Ballu, in the later stages, to produce the pair
of flches that crown the west end.

Cologne Cathedral, finally completed in 1880 (though construction started originally in 1248) with a
faade 157 metres tall and a nave 43 metres tall
Meanwhile, in Germany, interest in the Cologne Cathedral, which had begun construction in 1248 and
was still unfinished at the time of the revival, began to reappear. The 1820s "Romantic" movement
brought back interest, and work began once more in 1842, significantly marking a German return of
Gothic architecture.[11]
Because of Romantic nationalism in the early 19th century, the Germans, French and English all
claimed the original Gothic architecture of the 12th century era as originating in their own country. The
English boldly coined the term "Early English" for "Gothic", a term that implied Gothic architecture was

an English creation. In his 1832 edition of Notre Dame de Paris, author Victor Hugo said "Let us inspire
in the nation, if it is possible, love for the national architecture", implying that "Gothic" is France's national
heritage. In Germany, with the completion of Cologne Cathedral in the 1880s, at the time its summit was
the world's tallest building, the Cathedral was seen as the height of Gothic architecture. Other major
completions of Gothic cathedrals were of Regensburger Dom (with twin spires completed from 1869
1872), Ulm Mnster (with a 161-meter tower from 1890) and St. Vitus Cathedral in Prague (18441929).
In Belgium, a 15th-century church in Ostend burned down in 1896. King Leopold II supported its
replacement by a cathedral-like church after the style of the also Neo-Gothic Votive
Church in Vienna and Cologne Cathedral: the Saint Peter's and Saint Paul's Church.[12] In Mechelen, the
largely unfinished building drawn in 1526 as the seat of the Great Council of The Netherlands, finally got
built in the early 20th century strictly following Rombout II Keldermans's Brabantine Gothic design, and
became the 'new' north wing of the City Hall.[13][14]
In Florence, the Duomo's temporary faade erected for the Medici-House of Lorraine nuptials in 1588
1589, was dismantled, and the west end of the cathedral stood bare again until 1864, when a
competition was held to design a new faade suitable to Arnolfo di Cambio's original structure and the
fine campanile next to it. This competition was won by Emilio De Fabris, and so work on his polychrome
design and panels of mosaic was begun in 1876 and completed by 1887, creating the Neo-Gothic
western faade. In Indonesia, (the former colony of the Dutch East Indies), the Jakarta Cathedral was
begun in 1891 and completed in 1901 by Dutch architect Antonius Dijkmans; while further north in the
islands of the Philippines, the San Sebastian Church, designed by architects Genaro Palacios
and Gustave Eiffel and was consecrated in 1891 in the still Spanish colony.
In Scotland, while a similar Gothic style to that used further south in England was adopted by figures
including Frederick Thomas Pilkington (183298)[15] in secular architecture it was marked by the readoption of the Scots baronial style.[16] Important for the adoption of the style in the early 19th century
was Abbotsford House, the residence the novelist and poet, Sir Walter Scott. Re-built for him from 1816,
it became a model for the modern revival of the baronial style. Common features borrowed from 16thand 17th-century houses included battlemented gateways, crow-stepped gables,
pointed turrets and machicolations. The style was popular across Scotland and was applied to many
relatively modest dwellings by architects such as William Burn (17891870), David Bryce (180376),
[17]
Edward Blore (17871879), Edward Calvert (c. 18471914) and Robert Stodart Lorimer (18641929)
and in urban contexts, including the building of Cockburn Street in Edinburgh (from the 1850s) as well as
the National Wallace Monument at Stirling (185969).[18] The rebuilding of Balmoral Castle as a baronial
palace and its adoption as a royal retreat from 1855-8 confirmed the popularity of the style.[19]
In the United States, the first "Gothic stile"[20] church (as opposed to churches with Gothic elements)
was Trinity Church on the Green, New Haven, Connecticut. It was designed by the prominent American
Architect Ithiel Townbetween 1812 and 1814, even while he was building his Federalist-style Center
Church, New Haven right next to this radical new "Gothic-style" church. Its cornerstone was laid in 1814,
[21]
and it was consecrated in 1816.[22] It thus predates St Luke's Church, Chelsea, often said to be the
first Gothic-revival church in London, by a decade. Though built of trap rock stone with arched windows
and doors, parts of its Gothic tower and its battlements were wood. Gothic buildings were subsequently
erected by Episcopal congregations in Connecticut at St. John's in Salisbury (1823), St. John's in Kent
(182326), St. Andrew's in Marble Dale (182123).[23] These were followed by Towns design for Christ
Church Cathedral (Hartford, Connecticut) (1827), which incorporated Gothic elements such as
buttresses into fabric of the church. St. Paul's Episcopal Church in Troy, New York, was constructed in
18271828 as an exact copy of the Town's design for Trinity Church, New Haven, but using local stone;
due to changes in the original, St. Paul's is closer to Town's original design than Trinity itself.[24] In the
1830s, architects began to copy specific English Gothic and Gothic Revival Churches, and these
mature Gothic Revival buildings made the domestic Gothic style architecture which preceded it seem
primitive and old-fashioned.[25] Since then, Gothic Revival architecture has spread to thousands of
churches and Gothic-revival buildings across America.

There are many examples of Gothic Revival architecture in Canada. The first major Gothic Revival
structure in Canada was Notre-Dame Basilica in Montreal, which was designed in 1824. During the War
of 1812 many homesteads along the St. Lawrence River were destroyed. Most of the homes were built
in the Georgian style; after their destruction they were rebuilt in the Gothic Revival or "Jigsaw Gothic"
style. The capital city of Ottawa is full of Gothic Revival architecture. The Parliament Hill buildings which
was built in the last decades of the 19th century was built in the Gothic Revival style, as were many
other buildings in the city and outlining areas show how popular the Gothic Revival movement had
become.[26] Other examples of Canadian Gothic Revival architecture are the Victoria Memorial Museum,
(190508), the Royal Mint, (190508), and Connaught Building, (191316), all in Ottawa by David
Ewart.[27]

Gothic as a moral force[edit]

Pugin and "truth" in architecture[edit]

The House of Lords in the Palace of Westminster, designed by A. W. N. Pugin

In the late 1820s, A. W. N. Pugin, still a teenager, was working for two highly visible employers, providing
Gothic detailing for luxury goods. For the Royal furniture makers Morel and Seddon he provided designs
for redecorations for the elderly George IV at Windsor Castle in a Gothic taste suited to the setting. For
the royal silversmiths Rundell Bridge and Co., Pugin provided designs for silver from 1828, using the
14th-century Anglo-French Gothic vocabulary that he would continue to favour later in designs for the
new Palace of Westminster (see right).[28] Between 1821 and 1838 Pugin and his father published a
series of volumes of architectural drawings, the first two entitled, Specimens of Gothic Architecture, and
the following three, Examples of Gothic Architecture, that were to remain both in print and the standard
references for Gothic Revivalists for at least the next century.
In Contrasts (1836), Pugin expressed his admiration not only for medieval art but for the whole medieval
ethos, claiming that Gothic architecture is the product of a purer society. In The True Principles of
Pointed or Christian Architecture (1841), he suggested that modern craftsmen seeking to emulate the
style of medieval workmanship should also reproduce its methods. Pugin believed Gothic was true
Christian architecture, and even said "the pointed arch was produced by the Catholic faith".
Pugin's most famous project is The Houses of Parliament in London. His part in the design consisted of
two campaigns, 18361837 and again in 1844 and 1852, with the classicist Charles Barry as his
nominal superior (whether the pair worked as a collegial partnership or if Barry acted as Pugin's superior
is not entirely clear). Pugin provided the external decoration and the interiors, while Barry designed the
symmetrical layout of the building, causing Pugin to remark, "All Grecian, Sir; Tudor details on a classic
body".

Ruskin and Venetian Gothic[edit]

Main article: Venetian Gothic architecture
John Ruskin supplemented Pugin's ideas in his two hugely influential theoretical works, The Seven
Lamps of Architecture (1849) and The Stones of Venice (1853). Finding his architectural ideal in Venice,
Ruskin proposed that Gothic buildings excelled above all other architecture because of the "sacrifice" of

the stone-carvers in intricately decorating every stone. By declaring the Doge's Palace to be "the central
building of the world", Ruskin argued the case for Gothic government buildings as Pugin had done for
churches, though only in theory. When his ideas were put into practice, Ruskin despised the spate of
public buildings built with references to the Ducal Palace, including the University Museum in Oxford.

Ecclesiology and funerary style[edit]

Cathedral of the Immaculate Conceptionas an example of a Russian Gothic

Construction of Washington National Cathedral began in 1907 and was completed in 1990
In England, the Church of England was undergoing a revival of Anglo-Catholic and ritualist ideology in
the form of the Oxford Movement and it became desirable to build large numbers of new churches to
cater for the growing population, and cemeteries for their hygienic burials. This found ready exponents in
the universities, where the ecclesiological movement was forming. Its proponents believed that Gothic
was the only style appropriate for a parish church, and favoured a particular era of Gothic architecture
the "decorated". The Cambridge Camden Society, through its journal The Ecclesiologist, was so
savagely critical of new church buildings that were below its exacting standards and its pronouncements
were followed so avidly that it became the epicentre of the flood of Victorian restoration that affected
most of the Anglican cathedrals and parish churches in England and Wales.[29]
St Luke's Church, Chelsea was a new-built Commissioner's Church of 182024, partly built using a
grant of 8,333 towards its construction with money voted by Parliament as a result of the Church
Building Act of 1818.[30] It is often said to be the first Gothic Revival church in London, and, as Charles
Locke Eastlake put it: "probably the only church of its time in which the main roof was groined
throughout in stone".[31] Nonetheless, the parish was firmly Low Church, and the original arrangement,
modified in the 1860s, was as a "preaching church" dominated by the pulpit, with a small altar and
wooden galleries over the nave aisle.[32]

The development of the private major metropolitan cemeteries was occurring at the same time as the
movement; Sir William Tite pioneered the first cemetery in the Gothic style at West Norwood in 1837,
with chapels, gates, and decorative features in the Gothic manner, attracting the interest of
contemporary architects such as George Edmund Street, Barry, and William Burges. The style was
immediately hailed a success and universally replaced the previous preference for classical design.[33]
However, not every architect or client was swept away by this tide. Although Gothic Revival succeeded in
becoming an increasingly familiar style of architecture, the attempt to associate it with the notion of high
church superiority, as advocated by Pugin and the ecclesiological movement, was anathema to those
with ecumenical or nonconformist principles. They looked to adopt it solely for its aesthetic romantic
qualities, to combine it with other styles, or look to northern European Brick Gothic for a more plain
appearance; or in some instances all three of these, as at the non-denominational Abney Park
Cemetery designed by William Hosking FSA in 1840.

Viollet-le-Duc and Iron Gothic[edit]

If France had lagged slightly in entering the neo-Gothic scene, she produced a giant of the revival
in Eugne Viollet-le-Duc. As well as a powerful and influential theorist, Viollet-le-Duc was a leading
architect whose genius lay in restoration. He believed in restoring buildings to a state of completion that
they would not have known even when they were first built, theories he applied to his restorations of the
walled city of Carcassonne, and to Notre-Dame and Sainte Chapelle in Paris. In this respect he differed
from his English counterpart Ruskin, as he often replaced the work of mediaeval stonemasons. His
rational approach to Gothic stood in stark contrast to the revival's romanticist origins.
Throughout his career he remained in a quandary as to whether iron and masonry should be combined
in a building. Iron had in fact been used in Gothic buildings since the earliest days of the revival. It was
only with Ruskin and the archaeological Gothic's demand for structural truth that iron, whether it was
visible or not, was deemed improper for a Gothic building.
This argument began to collapse in the mid-19th century as great prefabricated structures such as the
glass and iron Crystal Palace and the glazed courtyard of the Oxford University Museum were erected,
which appeared to embody Gothic principles through iron. Between 1863 and 1872 Viollet-le-Duc
published his Entretiens sur l'architecture, a set of daring designs for buildings that combined iron and
masonry. Though these projects were never realised, they influenced several generations of designers
and architects, notably Antoni Gaud in Spain and, in England, Benjamin Bucknall, Viollet's foremost
English follower and translator, whose masterpiece was Woodchester Mansion.
The flexibility and strength of cast-iron freed neo-Gothic designers to create new structural gothic forms
impossible in stone, as in Calvert Vaux's cast-iron bridge in Central Park, New York (1860s; illustration,
below). Vaux enlists openwork forms derived from Gothic blind-arcading and window tracery to express
the spring and support of the arching bridge, in flexing forms that presage Art Nouveau.

The upper chapel of the Sainte Chapelle, restored by Flix Duban in the 19th century

Cast-iron gothic tracery supports a bridge by Calvert Vaux, Central Park, New York City

Collegiate Gothic[edit]

The Cathedral of Learning, University of Pittsburgh

Main article: Collegiate Gothic

In the United States, Collegiate Gothic was a late and literal resurgence of the English Gothic Revival,
adapted for American university campuses. The firm of Cope & Stewardson was an early and important
exponent, transforming the campuses of Bryn Mawr College, Princeton University and the University of
Pennsylvania in the 1890s.
The movement continued into the 20th century, with Cope & Stewardson's campus for Washington
University in St. Louis (190009), Charles Donagh Maginnis's buildings at Boston
College (1910s), Ralph Adams Cram's design for the Princeton University Graduate College (1913),
and James Gamble Rogers' reconstruction of the campus of Yale University (1920s). Charles Klauder's
Gothic Revival skyscraper on the University of Pittsburgh's campus, the Cathedral of Learning (1926)
exhibited very Gothic stylings both inside and out, while utilizing modern technologies to make the
building taller.

Vernacular adaptations[edit]
Main article: Carpenter Gothic

Carpenter gothic Unitarian Universalists of San Mateo, California (built 1905) showing gothic
arches, steep gables, and a tower. The tower includes examples of abat-sons

Vernacular Gothic Revival elements in an 1873 church of the Slavine Architectural School in Gavril
Genovo, Montana Province, northwestern Bulgaria
Carpenter Gothic houses and small churches became common in North America and other places in the
late 19th century.[34] These structures adapted Gothic elements such as pointed arches, steep gables,
and towers to traditional American light-frame construction. The invention of the scroll saw and massproduced wood moldings allowed a few of these structures to mimic the florid fenestration of the High
Gothic. But, in most cases, Carpenter Gothic buildings were relatively unadorned, retaining only the
basic elements of pointed-arch windows and steep gables. Probably the best-known example of
Carpenter Gothic is a house in Eldon, Iowa, that Grant Wood used for the background of his famous
painting American Gothic.[35]
Benjamin Mountfort of Canterbury, New Zealand imported the Gothic Revival style to New Zealand, and
designed Gothic Revival churches in both wood and stone. Frederick Thatcher in New Zealand designed
wooden churches in the Gothic Revival style, e.g. Old St. Paul's, Wellington. St Mary of the Angels,
Wellington by Frederick de Jersey Clere is in the French Gothic style, and was the first Gothic design
church built in ferro-concrete. The style also found favour in the southern New Zealand city of Dunedin,
where the wealth brought in by the Otago Gold Rush of the 1860s allowed for substantial stone edifices
to be constructed, among them Maxwell Bury's University of Otago Registry Building and the John
Campbell-designed Dunedin Law Courts, both constructed from hard dark breccia and a local white
limestone, Oamaru stone.
Other Gothic Revival churches were built in Australia, in particular in Melbourne and Sydney,
see Category:Gothic Revival architecture in Australia.
In 19th-century northwestern Bulgaria, the informal Slavine Architectural School introduced Gothic
Revival elements into its vernacular ecclesiastical and residential Bulgarian National
Revival architecture. These included geometric decorations based on the triangle on apses, domes and
external narthexes, as well as sharp-pointed window and door arches. The largest project of the Slavine
School is the Lopushna Monastery cathedral (18501853), though later churches like those in Zhivovtsi
(1858), Mitrovtsi (1871), Targovishte (18701872), Gavril Genovo (1873), Gorna Kovachitsa (1885) and
Bistrilitsa (18871890) display more prominent vernacular Gothic Revival features.[36]

20th century[edit]
The Gothic style dictated the use of structural members in compression, leading to tall, buttressed
buildings with interior columns of load-bearing masonry and tall, narrow windows. But, by the start of the
20th century, technological developments such as the steel frame, the incandescent light bulb and
the elevator led many[who?] to see this style of architecture as obsolete. Steel framing supplanted the nonornamental functions of rib vaults and flying buttresses, providing wider open interiors with fewer
columns interrupting the view.
Some architects persisted in using Neo-Gothic tracery as applied ornamentation to an iron skeleton
underneath, for example in Cass Gilbert's 1913 Woolworth Building skyscraper in New York
and Raymond Hood's 1922 Tribune Tower in Chicago. But, over the first half of the century, Neo-Gothic
became supplanted by Modernism. Some[who?] in the Modern Movement saw the Gothic tradition of

architectural form entirely in terms of the "honest expression" of the technology of the day, and saw
themselves as the rightful heir to this tradition, with their rectangular frames and exposed iron girders.
In spite of this, the Gothic Revival continued to exert its influence, simply because many of its more
massive projects were still being built well into the second half of the 20th century, such as Giles Gilbert
Scott's Liverpool Cathedral and the Washington National Cathedral (19071990). Ralph Adams
Cram became a leading force in American Gothic, with his most ambitious project the Cathedral of Saint
John the Divine in New York (claimed to be the largest Cathedral in the world), as well as Collegiate
Gothic buildings at Princeton University. Cram said "the style hewn out and perfected by our ancestors
[has] become ours by uncontested inheritance."
Though the number of new Gothic Revival buildings declined sharply after the 1930s, they continue to
be built. The cathedral of Bury St. Edmunds was constructed between the late 1950s and 2005.[37] A new
church in the Gothic style is planned for St. John Vianney Parish in Fishers, Indiana.[38][39] A new building
currently under construction in Peterhouse will adopt the neo-gothic style of the rest of the courtyard it is
being built in.[40]

The Santa Justa Lift (1901), Lisbon, Portugal

Liverpool Cathedral, whose construction ran from 1903 to 1978

Passion Faade of La Sagrada Famlia in Barcelona, Spain (cranes digitally removed)

21st century[edit]
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Appreciation[edit]
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canhelpbyaddingtoit.(January
2010)

By 1872, the Gothic Revival was mature enough in the United Kingdom that Charles Locke Eastlake, an
influential professor of design, could produce A History of the Gothic Revival, but the first extended
essay on the movement that was written within the maturing field of art history was Kenneth Clark, The
Gothic Revival. An Essay, which appeared in 1928.

Details of architectural elements[edit]

These illustrations are from Charles Knight's Pictorial Gallery of the Arts, published in England in 1858.
They show detailed perspectives on the incorporation of modern design influences in the Gothic style:

Architecture and arch elements

Decorative architectural elements

More examples of decorative architectural elements