Style neogothic

The neo-gothic style is an architectural style born in the middle of the 18th century in England. To the 19th century, increasingly serious and educated styles neogothic aimed at making revive medieval forms , contrasts about it with the dominant traditional styles at the time. The movement had an important influence in Europe and North America, and there perhaps was more Gothic architecture built during 19th and 20th centuries that there had been in the beginning.

One can distinguish three phases:

the néogothique one of Christopher Wren in England, applied to the universities as Oxford
the second phase in Great Britain is parallel to the development of the Roman Gothic in literature
maturity in the years 1840 thanks to the advances in knowledge historical

History

Survival and revival

The Gothic architecture did not completely disappear at the 15th century, but with rather survived in projects in the course of construction of Cathédrale S and church S in rural regions increasingly isolated from England, of France, of Spain and Germany. With Bologna, in 1646, the architect baroque Carlo Rainaldi built Voûte S Gothics (completed in 1658) for the Basilique of San Petronio which was in construction since 1390; here, Gothic context of the structure a prime on the architectural mode of the time. In a similar way, the Gothic architecture survived in an urban context at the end of the 17th century, as show it Oxford and Cambridge, where some extensions and repairs of Gothic buildings were apparently regarded as more keeping the style of the original structures rather than the Baroque of then. Tom Tower of Christopher Wren for the Christ Church of Oxford, and, later, Western towers of the Abbaye of Westminster by Nicholas Hawksmoor, the borders erase between what is called the " survival gothique" and the Gothic revival.

In the middle of the 18th century, with the rise of the Romanticism, an interest and an awakening crescents for the Middle Ages among certain influential experts created a more admiring approach of medieval arts, while starting with the architecture of the churches, the funeral monuments of the monarchs and noble, the stained glasses and the last Gothic manuscripts. Other Gothic arts continued however to be regarded as barbarians and coarse: the Tapestry S and the work of metal, for example. Sentimental and nationalist associations with historical figures were as strong in this beginning of revival as of the purely esthetic considerations. Some English, and soon some Germans, started to appreciate the character Pittoresque ruins - “picturesque” becoming a new esthetic quality - and the effects lenitive of time that the Japanese call Wabi-sabi and that Horace Walpole admired independently, in an ironic way, like " the true rust of the wars of Barons". The details " gothick" villa of Twickenham of Walpole " Strawberry Hill" , liked the tastes Rococo S of the moment, and from here the years 1770, of the neo-classic architects entirely such as Robert Adam and James Wyatt was prepared to provide Gothic details in living rooms, libraries and vaults, for a romantic vision of a Gothic abbey, the Abbaye of Fonthill in Wiltshire. The style " gothick" was an architectural demonstration of the " pittoresque" architectural considering elsewhere in arts: these decorative temples and Chaumière S were unaware of the logical structure of true Gothic constructions and were in fact of constructions palladiennes with pointed arches. The eccentric landscape designer Batty Langley even tried d'" améliorer" Gothic forms in their giving traditional proportions.

A younger generation which took more with serious the Gothic architecture was the assistantship of the series of Cathedral Antiquities of J. Britten, which appeared in 1814. In 1817, Thomas Rickman wrote a Attempt… ( Test… ) to name and define the sequence of Gothic styles in English ecclesiastical architecture, “a treated for the student architect”. Its long title is descriptive: Attempt to discriminate the styles off English structures from the Conquest to the Reformation; preceded by has sketch off the Grecian and Roman orders, with five notes off nearly hundred English buildings. ( Test to discriminate the styles of English architectures of the Conquest to the Reform; preceded by a draft by the Greek and Roman orders, with observations of roughly five hundred English constructions. ) the categories which it used here are the Normande, the Jeune England, the Décorée and the Perpendiculaire. It was published many times and was always published in 1881.

Romanticism and nationalism

The French style neogothic has its roots in a minor aspect of the Anglomanie , starting at the end of the years 1780. In 1816, when the French academic Alexandre de Laborde says “the Gothic architecture has his own beauties”, the idea was new for the majority of the French readers. As from 1828, Alexandre Brogniart, the director of the national Manufacture of Sevres, produces the first enamel paintings cooked on large squares of glass, for the royal vault of Louis-Philippe Ier with Dreux. It would be difficult to find an order also large and important in the Gothic taste before this one, except for some Gothic elements in a handle of gardens to English.

The Gothic revival in France took a greatter importance thanks to a pioneer, Arcisse de Caumont, which founded the Société of the antique dealers of Normandy at one time when “antiquaine” still meant expert in antiquities, and who published his work on architecture Norman in 1830. The following year saw the publication of Notre-Dame de Paris of Victor Hugo, in which the large Gothic cathedral of Paris is at the same time a decoration and a protagonist in an enormously popular work of fiction. The same year, new French monarchy établitun station of Inspector-General of the Historic buildings, a station occupied in 1833 by Prosper Mérimée, which became the secretary of a news Commission of the Historic buildings in 1937. It was the commission which informed Eugene Purple-the-Duke to submit a report/ratio on the conditions of the Abbaye of Vézelay in 1840. Thereafter Purple-the-Duke undertaken restoration of many buildings gothic emblematic of France - Vezelais, Carcassonne, Mount Saint-Michel, Notre Dame de Paris, Castle of Roquetaillade….

During this time, in Germany, the interest in the Cathédrale of Cologne, whose construction had commecné in 1248 and who was always unfinished at the time of the revival, started to reappear, marking in an important way the return in Germany of the Gothic architecture.

Because of the romantic Nationalisme at the beginning of the 19th century, the Germans, the French and the English affirmed all that the original Gothic architecture of the 12th century was originating in their own country. The English boldly invented the " term; Early English " for the Gothic, a term which implied that the Gothic architecture was an English creation. In his edition of 1832 of Notre-Dame de Paris , Victor Hugo said “Inspire if it is possible, with the nation the love of national architecture”, implying that the Gothic was a French heritage. In Germany, with the completion of the Cathedral of Cologne in the years 1880, at the time the most building of the world, the cathedral was seen like the top of the Gothic architecture.

In Florence, the frontage of Duomo was demolished in 1587-1588, and remained stripped until 1864, when a competition was organized to draw a new frontage in agreement with the structure of Arnolfo di Cambio and the Campanile beside it. This competition was gained by Emilio De Fabris, and work on its polychrome drawing and the panels of mosaic were started in 1876 and were completed in 1887.

Pugin, Ruskin and Gothic as a moral fiber

At the end of the years 1820, Augustus Pugin, still teenager, worked for two highly visible employers, providing Gothic detail for goods of luxury. For the manufacturers of royal pieces of furniture Morel and Seddon, it provides plans for redécorations for oldest George IV to the Château of Windsor in a Gothic taste which went with the decoration. For the royal bankers Rundell Bridge and Co. , Pugin provides plans for silverware as from 1828, by using the Anglo-French Gothic vocabulary which it will continue later to support in plans for the new Palate of Westminster.

In Contrasts (1836), Pugin expressed its admiration not only for medieval art but for all the medieval spirit, affirming that the Gothic architecture was the product of a purer company. In The True Principles off Pointed gold Christian Architecture (1841), it suggested that the modern craftsmen seeking to emulate the style of medieval manufacture should also reproduce its methods. Pugin believed that the Gothic architecture was true Christian architecture, affirming “the pointed arch boldly was produced by the catholic faith”. The most famous construction of Pugin is the Chambre of the Parliaments to London, which it conceived in two shifts, 1836-1937 and still in 1844 and 1852, with the classicist Charles Barry and his Co-architect. Pugin provides external decoration and the interiors, while Barry drew the symmetrical arrangement of construction.

John Ruskin supplemented the ideas of Pugin in its two influential theoretical works, The Seven Lamps off Architecture (1849) and The Stones off Venice (1853). Seeking its architectural ideal with Venice, Ruskin suggested that Gothic constructions excelled above other architectures because of the “sacrifice” of the stone sculptors which decorated each stone tortueusement. By declaring the Palate of the Doges " the central construction of the monde" , Ruskin défenda the Gothic cause of the buildings for the government just like did it Pugin for the churches, although only in theory. When its ideas were put into practice, Ruskin scorned the torrent of public buildings built in reference to the Ducal palate, among which the Museum of Natural history of the University from Oxford to Oxford.

In England, the Anglicanisme lived a revival of the ideology anglo-catholic and ritualistic in the form of the Mouvement of Oxford and one started to project to build a great number of new churches to provide for the increasing population. Exhibitors were very ready in the universities, where the movement ecclesiologic was being formed. Its partisans believed that the Gothic was the alone suitable style for a parish church, and supported one particular era of the Gothic architecture, the " Decorated ". The Ecclesiologist , the publication of the Cambridge Camden Society, was so wildly critical towards new constructions of churches which were below its standards that a style named " Gothic archéologique" emerged, producing medieval constructions among most convincing of the néogothique one. However, all the architects and the customers by were not carried by this current. Although the néogothique one succeeds in becoming a style increasingly familiar of architecture, the attempt to associate it with the superiority of the high church, as promoted it Pugin and the movement ecclesiologic, went against those which had principles œucumenic or nonconformist. Those sought to adopt it only for its romantic esthetic qualities, to combine it with other styles or sought in Northern Europe for simpler Gothic of appearance, and for consciously choosing a rather different style; or in certain cases, these three things at the same time, as for œucumenic the Abney Park Cemetery for which the architect William Hosking was committed.

Purple-the-duke and iron

Although France was not present on the neogothic scene also early, it produced a giant of the revival in Eugene Purple-the-Duke. In addition to being a powerful and influential theorist, Purple-the-Duke was an architect of foreground whose genius lay in the restoration. He restored constructions with a training course of completion which they would not have known even when they were built for the first time, theory that he applied to his restorations of the strengthened city of Carcassonne, like with Notre-Dame, the Castle of Roquetaillade and with the Sainte Vault with Paris. In this respect, it differed from its English counterpart Ruskin since it often replaced the work of the stone mason medieval. Its rational approach of the Gothic contrasted completely with the romantic origins of the revival, and is regarded by certain as a prelude to the structural honesty required by the Modernisme.

Throughout its career, it remained in the dilemma to choose if the Fer and the Maçonnerie were to be combined in a construction industry. Iron had in fact used in the Gothic construction industries since the first days of the néogothique one. It is only with Ruskin and the requirement of the Gothic architectual for the structural truth that iron, that it is visible or not, was considered inappropriate for a Gothic construction. This argument started to collapse in the middle of the 19th century like great structures prefabricated such as the Crystal De luxe hotel of glass and of iron and the glazed court of Oxford University Museum was set up, pretense to incarnate the principles of the Gothic through iron. Between 1863 and 1872, Purple-the-Duke published his Entretiens on architecture , a whole of daring plans for constructions which combined iron and masonry. Although these projects were never carried out, they influenced several generations of draftsmen and architects, in particular Antonio Gaudi.

The 20th century and beyond

With the turning of the 20th century, technological advances such as the Electric bulb, the Elevator and the Acier made that many people saw the architecture which used masonry like obsolete. Steel supplanted not-decorative functions of the Voûtes and arcs paring. Certain architects used the neogothic Tracerie like an ornament applied to an iron skeleton below, for example in the Gratte-ciel Woolworth Building of 1907 of Cass Gilbert with New York and the Tribune Tower of 1922 of Raymond Hood with Chicago. But during the first part of the century, the néogothique one was supplanted by the Modernisme. Some in Modern Movement transfer the Gothic tradition of the architectural form entirely in terms of " expression honnète" technology of the time, and are transfered like the heirs in right of this tradition, with their rectangular windows and their visible iron beams.

In spite of that, the néogothique one continued to exert its influence, simply because many its most massive projects were still in construction during the second moitity of the 20th century, such as the Cathédrale of Liverpool of Gilles Gilbert Scott. With the the United States, the first constructions of Charles Donagh Maginnis with the Boston College helped to establish the prevalence of the collegial Gothic architecture on the campuses of the American university. The skyscraper neogothic of the campus of the University of Pittsburgh, the Cathedral off Learning, for example, used very Gothic styles at the same time inside and outside, while using modern technologies to make construction higher. Ralph Adams Cram became a force of foreground in the American Gothic, with its most ambitious project, the Cathedral off Holy John the Divine in New York (known as the largest cathedral of the world), like with collegial Gothic constructions with the Université of Princeton. Cram said “the style cut and improved by our ancestors became ours by an uncontested heritage”.

Although the number of new neogothic buildings strongly declined after the years 1930, they continued to be built. The cathedral of Bury St Edmunds was built between the end of the year 1950 and 2005. In 2002, Demetri Porphyrios was accredited to design a residential college neogothic with the Université of Princeton, known under the name of Whitman College.

Be-X-old: Нэаготыка

Random links: