Gothic Cathedrals —the Heaven on Earth
Can religion be substantialized into something that we can lay our hands upon? Yes, Gothic cathedrals make this happen. The towering architectures built from the 12th to 16th centuries offered us a tangible experience of religion.
The word “gothic” is derived from “goth” — the name of a barbaric tribe which sprinkled in some regions in Europe between the 5th to 8th centuries. The Gothic style, however, is not a goth invention. Since gothic architecture is drastically different from the classical way of building(i.e. Romanesque architecture), it was related to barbaric tribes, quite disparagingly, by the Italian Renaissance writers in the 15th century.
Until the 19th century, the negative connotation was taken off by the reevaluation of the style’s significance in the history of art. In this story, I would like to explore the spirituality of gothic cathedrals from its use of light and the idiosyncratic relationship between its form and function.
First, the use of natural light, which is distinctive from any other architectural styles, sheds a religious light on gothic cathedrals. Romanesque churches, the precedents of the gothic cathedrals, usually have dark interiors. The heavy ceiling demands a sturdy supporting system. To maximize the strength of the supporting system, cautious architects scooped the walls as little as possible, only opening up small windows that transmit a limited amount of natural light into the interior.
On the other hand, gothic architecture has “membrane” walls, which allows a bright interior. Bricks were chiseled away to the maximum extent — a considerable portion of the walls was withheld for installing stained windows. Light, therefore, flows into the building freely. A hallucinating effect, that the solid walls are penetrated by light miraculously, is felt when passing through the well-illuminated nave.
It is important to know light’s implication within the biblical context to better understand how gothic architecture is revolutionary in terms of improving the transcending experience of visiting a church. In Christianity, light means goodness and divinity. Its divine merits originate from the immaculate conception of the Virgin. People are amazed by light’s quality which allows it to penetrate glass without breaking it. It is thus has been used as a metaphor for the Virgin’s conception without losing virginity. Stained glasses ensconced in the walls transform the natural light into spiritual light, making the visits to gothic cathedrals an edifying pilgrimage.
The relationship between form and function is another mode of representation which manifests the spirituality of gothic buildings. According to German art historian, Otto von Simson, “architectural form reveals function inasmuch as it reveals the actual physical interplay of weights and support” (Von Simson, p6).
In earlier architectures, the function of every structure is self-evident. Take Greek temples as an example, it is easy to tell that the function of the columns is to support the entablature. The impressive diameter of the columns groans about how laborious it is to uphold the masonry.
Nevertheless, we are often baffled by the relation between form and function of a gothic building. Looking with naked eyes does not tell us how the building is supported. Inside the cathedral, the lean columns do not seem as firm as Romanesque piers. Its walls’ ability to support is also compromised by the windows. There is no notable structure that seems to support the weigh: the building looks self-sustained. We tend to speculate if the building is not made by human hands.
In fact, like any other edifice, gothic cathedrals abide to the law of gravity. The architects wittily hid the supporting structures from our sight by breaking them into less recognizable units. Bundles of shafts elevating from the main arcade to the clearstory fractured the otherwise gigantic piers in the interior, making them more slender visually.
In addition, the invention of an external supporting system, the flying buttress, significantly reduced the pressure exerted on the interior supporting system.
The flying buttress and bundles of shafts present the cathedrals standing there with an appearance of nonchalance. The inventions deify the cathedrals. We are put in awe of Christ’s omnipotence by the standing miracles
Lightness and the unique relationship between structure and appearance, the two defining characteristics of gothic cathedrals answer to the metaphysical demand. They, collectively, sublimate the experience of wandering inside the building.
The bundled shafts which manufacture the myth about gravity is also responsible for creating the impression of linearity. They climb up from the level of the main arcade to that of the clearstory, divert at the upper end of the clearstory in the form of springings, and further sprawl as ribs on the vault. This continuation renders gothic buildings verticality as well as a sense of organic growth.
German poet von Goethe once praised gothic cathedrals as “a sublimely towering, wide-spreading tree of God which, with its thousand branches, millions of twigs and leaves more numerous than the sands of the sea.”
This depiction transpires the edifying function the naturalistic sense of growth, which encourages the viewers to believe that searching for heaven is as natural as a tree reaching towards the sky.
After talking about how religion shapes architectural forms, let’s muse on the issue another way around. What does architecture tell about religion? As individuals, this question is important because we want to be navigated in practicing our faith.
Examining the heavy use of ornamentation is the first step to unpack this question. Patterns are sculpted on columns, ribs, and tracery etc.. The architectural components also interact among themselves to display an intricate decorative system. Stained glass windows shed colorful tints on every crease of the interior.
Conflictingly, the rich colors and beautiful motifs sidetrack viewers’ attention from contemplating the faith. The elaborate ornamentation, the gate to a material-orientated and dangerous wonderland, seems to fragmentize the verticality of the entire building . However, the ornamentation was made to reflect a pragmatic conflict experienced by Christians.
Christians, although are willing to devote to the divinity wholeheartedly, cannot get rid of futile errands. Concerning this conflict, gothic cathedrals were designed to instruct people to dispose the inclination to squabble for all kinds of earthly interests.
The cathedrals were layout in a way that, while having sumptuous ornamentation, basic verticality is well preserved. The soaring, continuous shafts delineate linearity clearly. As von Goethe appreciated, the masses (verticality) are in harmony with the limitless details.
This contrivance has the following pedagogical meaning: one has to be prepared for constant distractions of forms that are pleasing to the eyes as he looking up, just like he is attacked by mundane distractions when practicing Christianity. If he wants to be saved by Christ, he has to resist the temptation to rest his eyes on the minor decorations. The right thing to do is to look up for heaven which is represented by the top of the vault. The pair of seemingly contradictory elements transforms gothic churches into an edifying palace.
Gothic cathedral is a spiritual feast and visual teaching to the public. Enter a gothic cathedral is in essence, being admitted into a heaven on earth. I hope this story which examines gothic cathedrals in conjunction with art history and spirituality could expand your experience with these alluring masterpieces.
References
NIELSEN, DAVID. Bruno Tauts Design Inspiration For The Glashaus. ROUTLEDGE, 2017, pp. 128–133.
Von Simson, Otto Georg. The Gothic Cathedral. Princeton University Press, 1988, pp. 3–9.
All photos are downloaded from Wikipedia.
