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English Gothic Architecture

Philip Elverson BE1057 2015

Table of Contents
Introduction 3

Main Chapters..3
1.Early English Gothic (1200-1275) 3
2.Decorated Gothic (1275-1375)4
3.Perpendicular Gothic (1375-1530+)

Conclusion.6

English Gothic Architecture

Introduction
This essay will discuss the Gothic architectural style, and more specifically, its manifestation
in Britain during the eleventh to fifteenth centuries. This period was particularly significant as
it saw the development of Gothic architectural themes strongly associated with Britain. E.g.
the first use of ribbed vaulting and the development of the Fan vault. The influence of the
English Gothic spans further, with neo-gothic construction seen prevalently in the nineteenth
century in works including the Palace of Westminster in London. This essay will focus
primarily on the medieval cathedrals of England, where key developments within gothic
construction and design can be seen.
English Gothic architecture formed a natural evolution from Romanesque architecture, seen
prevalently in Europe during the tenth to twelfth centuries. The Norman Conquest of Britain
in 1066 brought with it the Romanesque style and subsequently saw the reconstruction of a
number of churches and more significantly the rebuilding of numerous cathedrals in this
style. More commonly known in Britain as Norman architecture, Romanesque architecture
can be categorised by thick walls, round headed arches and tunnel-like barrel vaults
(Wilkinson 2000). This architecture eventually evolved into three distinct sub categories of
English Gothic; Early English, Decorated and Perpendicular, each spanning for
approximately a century each.
Early English Gothic 1200-1275
A building which shows the evolution between Norman and
Gothic architecture is Durham Cathedral. Previous Romanesque
cathedrals had incorporated rounded barrel vaults in their
construction, yet the decision was made to apply rib vaults to the
design at Durham. This served as a practical purpose to reduce
the stresses exerted on the walls seen in previous examples
where heavy barrel vaults had been used. This was also for
Fig.1
aesthetic reasons as using stone in the roofing would give the
interior a unity it would not otherwise possess (Wilkinson 2000). Previous Norman
Cathedrals had used timber which had a less cohesive architectural effect (Durham World
Heritage Site 2015).
With this new technology evolved an important characteristic of Gothic architecture:
Verticality. The pointed nature of the vaulting acted to draw the viewers eyes heavenwards.
According to Gloag (1963), The Gothic Builders transformed the interiors of churches
where every member that carried weight or distributed thrust seemed, in defiance to gravity
to stream upwards to Heaven

Fig. 2

Another early development was the introduction of the flying buttresses.

This technology provided support for walls and displaced weight from the
roof, allowing for thinner structures and larger windows, opening the
previously dark spaces up to light.
Early English Gothic (12 -13th Century) is noted for its development of
the pointed arch or lancet. Instead of limiting this feature to the nave of
the cathedral, the characteristic was more widely included within
windows and doorways. Known as lancets, these long and narrow
openings were simple with no added intricacies in the form of tracery as
seen in the future gothic styles.
The verticality of the buildings of early gothic was possibly the most important theme, with
simplicity remaining a strong characteristic.
A building which demonstrates the simplicity and austerity of the Early English style can be
seen in Salisbury cathedral (1220- 1258). Unlike most Medieval Cathedrals, the construction
was completed within a single generation, resulting in a uniformity of design uncommon in
other cathedral examples. The Importance of light is demonstrated in the octagonal Chapter
House of the cathedral, where eight window openings exist between eight buttresses. As
quoted in Brittons History and Antiquities of the Cathedral Church of Salisbury, windows
were beginning their conquest of the solid wall, so that ultimately, in the last phase of Gothic,
voids dominated solids (Britton 1814).
Decorated Gothic 1275-1375
As the Gothic style developed, as did the complexity and intricacies of the designs involved.
Like in Salisbury, the octagonal Chapter House in Wells is dominated by windows of which
the walls have, virtually dissolved into (Wilkinson 2000). A striking feature is seen at the
centre of both examples from the Decorated period. From a central pillar originate thirty-two
ribs, which fan out at even intervals. The visual impression is something of lightness, due to
the narrowness of the individual ribs. Here It is seen how the design begins to verge towards
the more elaborate, with structures beginning to perform an aesthetic rather than structural
purpose. This aesthetic importance is seen in the octagonal lantern at Ely Cathedral. Ely
Cathedrals central tower collapsed in 1322, which resulted in the construction of an
octagonal space supported by four arches. The space was too wide to be constructed using
stone, so the architect worked cleverly to imitate the material, using timber carved with
intricate details. The extreme attention to detail is evident on the faces of the lantern as much
of it is over 40 metres above the floor and cannot be seen (Wilkinson 2000)

The Tracery of Gothic windows is particularly important for this period.

The Lady Chapel at Ely Cathedral features ornate designs, which seem
organic and lend an almost plastic quality to the stone (Wilkinson
2000). The flowing nature of the Decorated tracery was constructed by
combining parts of circles and through the use of compasses and
measurements to make sure every curve was right (Wilkinson 2000),
emphasising again the importance of perfect aesthetic design. The use
3 Decorated
tracery:
Oxford
of narrow vertical bars or mullions atFig.
intervals
within
the window
opening allowed for greater intricacies.
An arguably important feature of decorated gothic is the stained glass window. Biblical
figures and stories would be depicted through the glass, as it was believed that a medieval
cathedral should be a city of God and stain glass windows amongst other things, were a
way of populating that city (Wilkinson 2000).

Perpendicular 1375-1530+
Fig. 4.

Wilkinson (2000) states that the Perpendicular Gothic style is

characterised by the use of rectilinear patterns which cover the entire
interior of the cathedral; further emphasising the vertical ideals of the
Gothic style. The window tracery seen in this period features mullions
which continue to the very top of the window (Fig.5.). The resultant
grid of horizontals and verticals formed rectangular compartments,
convenient for the placement of the biblical images in the form of
stained glass. A notable example of
Perpendicular tracery can be seen in
Gloucester Cathedrals Great East Window (Fig. 4.). This
enormous section of glass covers the area of a tennis court with
vertical mullions spanning the entire height of the opening. It is
here that the cage of stone impression of gothic architecture is
conveyed. The thin nets of tracery lining the panes create an
appearance of delicacy, whilst retaining the heavenwards
approach. As quoted by Gloag (1963), every climbing line was
emphasised to enhance the illusion of ascent.
Fig. 5
An important development in the English Gothic vault can be seen in the fan vaults of the
cloister at Gloucester. An evolution on the clusters of ribs seen in the Decorated Chapter
House at Wells Cathedral, these vaults consist of repeated fan shaped panels lined with
radiating ribs. The ribs are unique in the fact that they follow the design of the window
tracery, creating a harmonious transition between the two. The resulting vault is intricate and
delicate in appearance, yet in reality is purely decorative, with the ribs offering no
structural support.

Flying buttresses also became more than supporting structures within the Perpendicular
period, achieving a more decorative position. The buttresses within Gloucester Cathedral
arent hidden; however intersect the internal walls and provide a sense of motion which
contrasts with the heavy focus on perpendicular lines.
It is interesting to compare the perpendicular
architecture of Gloucester and the Norman
Cathedrals. Whereas the early focus was on
the strength and solidity of form and its
dominance over the viewer, later Gothic
architecture seems almost the complete
opposite. There is a sense of openness with the
dominance of glass and lighter stonework,
whilst an appreciation for a more human scale
is seen in the smaller, more organic details.

Fig. 6. Gloucester Cloisters

Conclusion
The three English periods demonstrate the process of refinement of Gothic design; gradually
converging on the important themes of magnitude and gracefulness whilst continuously
striving for a heavenwards approach. Gloag (1963) argues that there was a greater contrast
between the composed sobriety of Norman forms and the adventurous striving of the Early
English than between the later phases of Gothic. It is evident that the Norman design was
one of security and solidity, as demonstrated by the thick walls and small window openings in
cathedrals such as Durham. Gloag writes that although Norman Cathedrals were ostensibly
for the glory of God, they were also an expression in architectural terms of the power and
glory of the Normans. This may explain the imposing fortress-like position of Durham
Cathedral above the town and its solidity of construction.
The English Gothic style however transformed the dim mysterious sanctuary into
something much more open. New developments in vaulting allowed for every corner of the
cathedral to be illuminated by natural light, providing new surfaces for exhibition of intricate
carvings and details; heightening the spirituality of the building.

Bibliography

References

Wilkinson, P. (2000) The shock of the old: A guide to British buildings. London: Channel 4
Books
Gloag, J . (1963) The English Tradition in Architecture. London: A. and C. Black Ltd
Architectural importance (no date) Available at:
https://www.durhamworldheritagesite.com/architecture/cathedral/architectural-importance
(Accessed: 10 December 2015).
Britton, J (1814) The History and Antiquities of the Cathedral Church of Salisbury . London:
Longman.
Image Credits
Image - TinyPic - free image hosting, photo sharing & video hosting (no date) Available at:
http://tinypic.com/view.php?pic=2qbam93&s=6#.Vml-Z03MWUk (Accessed: 10 December
2015).

Bibliography

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https://en.wikipedia.org/wiki/English_Gothic_architecture (Accessed: 10 December 2015).
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Express, B. and ROSS, D. (no date) Gothic architecture in England. Available at:
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Image Credits
Fig. 1.
(no date) Available at:
http://40.media.tumblr.com/1354a4edce86127ca276a6b2e2e0c078/tumblr_nu6ltevW1Y1ucg
xqno3_400.jpg (Accessed: 10 December 2015).
Fig. 2.
(no date) Available at: https://s-media-cacheak0.pinimg.com/236x/9f/24/5a/9f245a1e531e2ef3daf92aecba00299b.jpg (Accessed: 10
December 2015).
Fig. 3.
(no date) Available at:
http://www.lookingatbuildings.org.uk/typo3temp/pics/m_ba8ac66d6e.jpg (Accessed: 10
December 2015).
Fig.4
(no date) Available at:
https://classconnection.s3.amazonaws.com/121/flashcards/872121/jpg/picture151320215538
925.jpg (Accessed: 10 December 2015).
Fig. 5.
(no date) Available at:
http://www.lookingatbuildings.org.uk/typo3temp/pics/m_fc4c934e0a.jpg (Accessed: 10
December 2015).
Fig. 6.
(no date) Available at: http://i47.tinypic.com/2qbam93.jpg (Accessed: 10 December 2015).