Gothic type: see type.

Gothic romance, type of novel that flourished in the late 18th and early 19th cent. in England. Gothic romances were mysteries, often involving the supernatural and heavily tinged with horror, and they were usually set against dark backgrounds of medieval ruins and haunted castles. The Castle of Otranto by Horace Walpole was the forerunner of the type, which included the works of Ann Radcliffe, Matthew Gregory Lewis, and Charles R. Maturin, and the novel Frankenstein by Mary Shelley. Jane Austen's novel Northanger Abbey satirizes Gothic romances. The influence of the genre can be found in some works of Coleridge, Le Fanu, Poe, and the Brontës. During the 1960s so-called Gothic novels became enormously popular in England and the United States. Seemingly modeled on Charlotte Brontë's Jane Eyre and Daphne du Maurier's Rebecca, these novels usually concern spirited young women, either governesses or new brides, who go to live in large gloomy mansions populated by peculiar servants and precocious children and presided over by darkly handsome men with mysterious pasts. Popular practitioners of this genre are Mary Stewart, Victoria Holt, Catherine Cookson, and Dorothy Eden.

Gothic revival, term designating a return to the building styles of the Middle Ages. Although the Gothic revival was practiced throughout Europe, it attained its greatest importance in the United States and England. The early works were designed in a fanciful late rococo manner, exemplified by Horace Walpole's remodeled "gothick" house, Strawberry Hill (1770). By 1830, however, architects turned to more archaeological methods. Thus, just as the classical revivalists had done, they began to copy the original examples more literally. A. W. N. Pugin wrote two of the basic texts of the Gothic revival. In Contrasts (1836) he put forth the idea that the Middle Ages, in its way of life and art, was superior to his own time and ought to be imitated. He amplified his ideas in The True Principles of Pointed or Christian Architecture (1841), propounding that not only must Gothic detail be authentic but that the contemporary architect should achieve the structural clarity and high level of craftsmanship that were found in the Middle Ages by using the methods of medieval builders. John Ruskin elaborated on these ideas in The Stones of Venice. Followers of Ruskin and Pugin soon came into conflict with proponents of the classic revival, and the resulting conflict has often been called a battle of the two styles. The Church of England supported the Gothic movement, however, and provided for the restoration of a great number of medieval religious buildings. Sir George Gilbert Scott was the noted English restorer of the day, while in France, Viollet-le-Duc led the exponents of the Gothic revival there. Many architects found it advantageous to work in both styles, as did Sir Charles Barry, a leading classicist. Working with A. W. N. Pugin, he won a competition in 1840 with Gothic designs for the houses of parliament. In the United States the picturesque aspect of the style took precedence over the doctrinaire approach of Pugin. The first works of note in the Gothic style appeared in the 1830s in buildings designed by A. J. Davis and Richard Upjohn. The younger James Renwick became important in the 1840s and was especially renowned for his Grace Church and St. Patrick's Cathedral in New York City, both prime examples of the Gothic revival in the United States. The Gothic movement foundered because of the impossibility of reproducing medieval buildings when there was no longer a medieval economy or technology. Only superficial effects of the style lingered in some eclectic works of the 19th and 20th cent. However, the ideals of earlier theoreticians, the clear expression of structure and materials have influenced modern architecture.

Gothic language, dead language belonging to the now extinct East Germanic group of the Germanic subfamily of the Indo-European family of languages (see Germanic languages). Gothic has special value for the linguist because it was recorded several hundred years before the oldest surviving texts of all the other Germanic languages (except for a handful of earlier runic inscriptions in Old Norse). Thus it sheds light on an older stage of a Germanic language and on the development of Germanic languages in general. The earliest extant document in Gothic preserves part of a translation of the Bible made in the 4th cent. A.D. by Ulfilas, a Gothic bishop. This translation is written in an adaptation of the Greek alphabet, supposedly devised by the bishop himself, which was later discarded.

Gothic architecture and art, structures (largely cathedrals and churches) and works of art first created in France in the 12th cent. that spread throughout Western Europe through the 15th cent., and in some locations into the 16th cent.

The Nature of the Gothic

The essential character of the Gothic period, particularly at the outset, was the predominance of architecture; all the other arts were determined by it. The character of the Gothic visual aesthetic was one of immense vitality; it was spikily linear and restlessly active. Informed by the scholasticism and mysticism of the Middle Ages, it reflected the exalted religious intensity, the pathos, and the self-intoxication with logical formalism that were the essence of the medieval. Gothic style was the dominant structural and aesthetic mode in Europe for a period of up to 400 years.

Characteristics of Gothic Architecture

It is generally agreed that Gothic architecture made its initial appearance (c.1140) in the Île-de-France, the royal domain of the Capetian kings. However, the inception of the style owes much to several generations of prior experimentation, particularly in Normandy (see Norman architecture). Although individual components in Gothic architecture, such as ribbed vaulting and the pointed arch, had been employed in Romanesque construction, they had not previously received such a purposeful and consistent application. While the structural value of the Gothic rib has been contested, its formal significance cannot be overestimated. It served above all to delineate the vaults with a skeletal web that gave to the entire structure an articulation of impressive clarity.

Unlike Romanesque architecture, with its stress on heavy masses and clearly delimited areas, Gothic construction, particularly in its later phase, is characterized by lightness and soaring spaces. The overall effect of the Gothic cathedral combined this lightness with an innumerable subdivision and multiplicity of forms. The introduction (c.1180) of a system of flying buttresses (see buttress) made possible the reduction of wall surfaces by relieving them of part of their structural function. Great windows could be set into walls, admitting light through vast expanses of stained glass. Wall surfaces of High Gothic churches thus have the appearance of transparent and weightless curtains. The spiritual and mysterious quality of light is an important element of the religious symbolism of Gothic cathedrals.

In plan the High Gothic cathedral remained faithful to the traditional basilican form. It consisted of a central nave flanked by aisles, with or without transept, and was terminated by a choir surrounded by an ambulatory with chapels. These elements, however, were no longer treated as single units but were formally integrated within a unified spatial scheme. The exterior view was frequently dominated by twin towers. The facade was pierced by entrance portals often lavishly decorated with sculpture, and at a higher level appeared a central stained glass rose window. Additional towers frequently rose above the crossing and the arms of the transept, which often had entrance portals and sculpture of their own. Around the upper part of the edifice was a profusion of flying buttresses and pinnacles.

Landmarks of French Gothic Architecture

The first important example of Gothic architecture was the ambulatory of the abbey of Saint-Denis, constructed between 1140 and 1144. Saint-Denis embodies the first daring use of large areas of glass, coupled with a brilliant organization of space. Its influence was immediate, and the possibilities of the new style were eagerly explored in structures such as the cathedrals of Sens, Noyon, Laon, and Paris, begun in the ensuing decades of the 12th cent.

The High Gothic phase of architecture was ushered in by the Cathedral of Chartres, begun after 1194 and followed in rapid succession by the cathedrals of Bourges, Reims, Amiens, and Beauvais. These structures surged to unprecedented heights. A further reduction of opaque wall surfaces in favor of graceful screens of stone tracery and glass led toward the formation of the Gothic Rayonnant style around the mid-13th cent. The most striking achievements of Rayonnant design, the Sainte-Chapelle in Paris and the Church of St. Urban in Troyes, have walls almost entirely of glass, held in place by only a thin skeletal frame of masonry.

Gothic Architecture Outside France

The adoption of Gothic architecture in various parts of Western Europe resulted in interesting variations and developments of the style. The cathedrals of Lincoln and Salisbury typify the early English style (late 12th-early 13th cent.). They retain much of the ponderous mural quality of earlier Norman architecture. In Italy height was usually subordinated to width, in a perpetuation of Romanesque proportions. French models served as inspiration for German churches of the 13th cent., notably at the cathedral in Cologne. Spanish Gothic architecture of this period was also based largely on French monuments; the forms, however, were modified, as in Toledo and Burgos, in the direction of greater ornamental display, partly derived from Moorish precedents.

Late Gothic Styles

In the 13th cent. the newly founded orders of Franciscans and Dominicans erected large hall churches of unassuming sobriety. The simplicity and functional character of these buildings, shown in such structures as the interior of Santa Maria Novella in Florence or the Church of the Jacobins in Toulouse, contrasts with the trend toward richness in ornamental elaboration apparent in later Gothic art. In the 14th and 15th cent., these tendencies culminated in intricate webs of tracery, as in the towers of the cathedrals at Ulm and Strasbourg in Germany and in the flamboyant style of the Church of Saint-Maclou in Rouen in France. In England the same exuberance of decoration is manifested in the Decorated style of Bristol and Ely cathedrals and the even more elaborate Perpendicular style, exemplified in the choir of the cathedral at Gloucester.

Building activity, however, was seriously affected by the economic crises of the 14th cent. and by the Black Death, and later Gothic constructions were far less ambitious in scope than those of the preceding period. However, the Gothic tradition never completely died out, and in the 19th cent. it enjoyed a revival in Europe and in the New World inspired chiefly by the romantic movement (see Gothic revival).

Gothic Sculpture

Sculpture and stained glass were formally and spiritually integrated within the Gothic cathedral to express a theological program or scheme. The Royal Portal at Chartres (mid-12th cent.) exemplifies the early achievements in the development toward a coherent sculptural scheme; the tympanum, archivolts, and jamb figures are newly united structurally and iconographically to emphasize the importance of Christ on earth. Images of Christ begin to reveal a tendency toward greater humanization.

By the first half of the 13th cent., the role of the Virgin Mary as the intermediary between God and humanity is stressed in the sculptural programs of Laon, Notre-Dame de Paris, and the north transept of Chartres. At the same time figures began to protrude more strongly from their architectural background. Whereas the jamb figures of the Royal Portal at Chartres were formally no more than splendid humanized columns, by the 13th cent. individual sculptural elements became more important and less united with the architecture. The portal figures of the cathedral at Reims provide an eloquent example of the trend toward sculptural independence.

From the mid-13th cent. onward, mannerisms in gesture developed, such as the "hip-shot" pose, notable in the statue of the Virgin and Child at Amiens. This swaying posture further separated sculpture from architecture. In the 14th cent., after the completion of the great cathedrals, sculpture became an independent artistic form. Mannerisms were exaggerated into an elegant style that continued into the 16th cent. There was a parallel trend toward greater realism, which had its origin in sepulchral portrait sculpture. The tendency toward realism reached monumental form in the Well of Moses (Dijon; 1395-1403) by Claus Sluter.

The influence of French Gothic sculpture spread throughout the Continent and England. The finest and most individual examples are found in Germany in the middle of the 13th cent. in the facades of Bamberg, Strasbourg, and Naumbourg cathedrals, the last showing evidence of a powerfully realistic, wholly German style. In Italy the late 13th-century works of Giovanni Pisano (see Nicola Pisano) in Siena and Pistoia and of Lorenzo Maitani at Orvieto reflect the heightened expressiveness found in French Gothic art.

Other Gothic Arts

Monumental fresco painting was rare in the Gothic period except in Italy, where the massive walls remained instead of yielding to the tall skeletal structure found elsewhere. In the rest of Europe stained glass and tapestry assumed greater importance and showed a stylistic development analogous to that of sculpture.

Another aspect of Gothic painting was manuscript illumination, in which text and pictures formed a united composition. From the beginning of the 13th cent., illuminations were done for the courts by lay schools. The Paris school achieved a perfection which made it the center of Gothic painting for nearly two centuries. English miniatures are often indistinguishable from the French in this period. The painters of the Avignon school flourished from 1309, when the papal court was moved there from Rome. This school produced one work, a Pietà from Villeneuve-lès-Avignon (Louvre; c.1460), of such originality of expression that it stands outside the established categories of Gothic painting.

The Waning of the Gothic Style

Toward the end of the 14th cent., many Flemish artists went to France, and a Franco-Flemish style was created, showing an elegance and interest in minute detail; so wide was its diffusion that it came to be known as the International Style. At about this time panel painting, under the lead of Flanders and Italy, achieved preeminence over all other forms of painting. In the 15th cent. individual painters, such as Stephan Lochner, Martin Schongauer, and Mathias Grünewald in Germany, mark the culmination of Gothic art. Others, such as Jean Fouquet in France and the Van Eycks in Flanders, point the way to the Renaissance, while retaining much of the Gothic spirit. In 15th-century Italy, where the Gothic style had never really taken root, the early Renaissance was already in full flower.

Extinct Germanic language spoken by the Goths. Its records antedate those of other Germanic languages by about four centuries. Best known from a translation of the Bible into Gothic in AD 350, it died out among the Ostrogoths after the fall of their kingdom in Italy in the 6th century and among the Visigoths around the time of the Arab conquest in 711. It persisted longer in the Crimea, where a form of Gothic was spoken as late as the 16th century.

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