Christian Architecture
Over the centuries, the Catholic Church through inculturation has embraced numerous forms of art and architecture to communicate the truths of the Faith. Many of these artistic styles originated in pagan culture and were subsequently Christianized such as the Romanesque, while others arose to affirm ecclesial teaching when confronted with error such as the Baroque. Others too such as Gothic or Spanish Missionary style were born in the monastic and missionary epoch to respectively facilitate the primacy of contemplation and the Church’s evangelizing mandate. By way of the created universe and utilizing the gifts given to God’s Holy People, the magnificent cathedrals were built over the centuries and the solitary monasteries erected. The Wyoming Carmelites, as sons of the Church, love all forms of art and architecture approved by the Church that so poignantly communicate the Good News of the Gospel of Jesus Christ.
The Carmelite Monks’ particular Gothic Style
With the birth of a new religious community, however, comes a desire to proclaim that particular charism in the artistic form and safeguard that community’s spirituality in the architecture. For example, the Cistercian hallmark of simplicity in art and architecture in the sober abbeys of the Order of Cistercians sings of the austerity beloved to the sons of St. Bernard. When marveling at the elegance, beauty, and grace of each architectural style, the Carmelite Monks of Wyoming began to ask what style best communicates their charism as cloistered, contemplative Carmelite monks. While temporary concerns such as resources and skill would have something to say in the final architectural determinations, the architectural language needed to be firmly established from the outset.
Spiritual Themes in Stone: “Marian Gothic”
Through assiduous study and especially prayer, the monks returned again and again to a common, overarching theme: The new monastery, dedicated to Our Lady of Mount Carmel, needed to publish in stone and glass the Marian dogmas and doctrines in such a manner that Mary’s Divine Maternity and Spiritual Maternity would be objectively, and plainly manifest. As monks who celebrate a monastic Liturgy and whose first forefathers on Mount Carmel built in gothic, the gothic style seemed a logical choice to express their monastic way of life. Gothic, however, like each of the arts and architectures sanctioned by the Church, is not one dimensional for there is a blessed multiplicity of styles such as can be seen in the difference between English Gothic and Spanish Gothic, for example. Since art uses the things of the created universe and the gifts of artisans themselves who are people with cultures, devotions, and particular preferences, the choice of gothic by itself was not enough to sufficiently define the gothic beloved to the Carmelite Monks of Wyoming.
And so, “Marian Gothic” was born, a term uniquely coined by the monks themselves to better express at once (1) their reason for choosing gothic—Mary; and (2) the preferential decision to make stylistic and ornamental choices for what better celebrated the truths of the human person of Mary such as the Marian privileges and virtues in the economy of salvation. Arising from this decision to build in Marian Gothic, every pointed pinnacle and ornamental flower would be thoughtfully and even painstakingly chosen with Mary in mind. Since Carmel is “totally Marian,” and each Carmelite is “totally Marian”—meaning he seeks to perpetuate Mary’s life through not only veneration, but imitation—Marian Gothic has indeed become the hallmark architectural and artistic choice of the Wyoming Carmelites.
Marian Gothic Characteristics
Concretely appropriating the well-known gothic axiom of “maximal height and maximal light,” the Carmelites of Wyoming have sought to build a monastery in Marian Gothic where height and light are not seen as human fetes to please man, but rather ultimately to give glory to God and advance the salvation of mankind through an architectural proclamation of the Marian mysteries. In other words, what might at first appear a towering height in fact purposes to celebrate the sublime and unparalleled charity of the Virgin Mary and the brilliant light to confess Mary’s illuminated faith that knew no darkness. A practical consideration of some of the fundamental notions may help to lay bare this dialogue between stone and glass and Marian teaching.
Marian Beauty
A guiding principle of any Christian architecture, but strikingly on display in gothic, is the notion of beauty. Beauty communicates truth through the created, material form so that it can be perceived by our senses. When we encounter something beautiful, we intuitively conclude that object is true and good and harmonious; we are drawn to beauty, and we contemplate the source of all beauty—God Himself. In designing and building a gothic monastery to last the ages, the monks resolved to make that monastery as beautiful as possible. The beauty, however, was not for themselves nor simply to draw gasps of awe or laudatory praise, but rather as Mary’s monastery to concretize the beauty of Mary’s soul. The beauty of the gothic form in its crockets and finials purposed to reflect, albeit dimly, the beauty of the Immaculate Conception Who singularly from the first moment of Her Immaculate Conception, in view of Christ’s perfect redemption, was forever free from both original and personal sin. Moreover, as God’s Mother, God gave to Mary a beauty unparalleled amongst all of creation—including a physical beauty—that is celebrated in the attractiveness of the gothic shapes and styles. Most especially, Mary knew a beauty of soul evinced in Her most virtuous life that was adorned with the fullness of grace and virtue. In this Marian Gothic beloved to the Wyoming Carmelites where each stone piece appears more beautiful than the one before, the plenitude of grace and virtue in Mary finds concrete reflection.
“Illuminated Gothic”
Another fundamental idea for the Carmelite Monks is the importance of light. Situated in Wyoming with its abundant days of sunshine, the monks have discovered light as truly good for the soul, aiding in good health. More profound yet still, light drives out all darkness, bringing peace and clarity and joy to the soul; only when our intellects are illumined by the truth, can we act with goodness. In the decision of stone and window placement, light enjoys a prominent place for the monks. The monastery intends to be lightsome—both as regards its color and its ability to receive and transmit light. Like beauty, however, the lightsome character of Marian Gothic is not just an aesthetical preference of the monks, but more significantly intends to announce Mary’s radiant faith that knew no shadow of doubt. Mary’s mind and heart welcomed divine truth without resistance or obstacle, joyfully receiving God’s revelation of Himself in the Person of Jesus Christ, Mary’s Divine Child. Mary was not, however, simply filled with this light, but Mary communicated, and continues to communicate, this light to the human race as Mother of the Church. Mary’s illuminated faith instructed the nascent Church and Her faith continues to shine as a model for all Christians today. Some theologians, particularly the schoolmen, argued that Mary’s lightsome faith even shone on Mary’s illuminated countenance. After the manner of Mary, the monks’ gothic style seeks to communicate light to a darkened world through regular monastic observance.
Soaring Gothic
A characteristic of all gothic is its height. Unlike other architectural styles that prefer to be short and stout, gothic purposes to be tall as if reaching up to God Himself. The classic gothic proportions are born from the Christian belief that man is made for God Himself and that man’s true home is heaven. As the gothic spires soar upward, the heavenward movement of the architecture aims to raise man’s mind and heart to God. The height of gothic does not serve to celebrate man, but rather God Who created man for union with Himself. Understood within the framework of Marian Gothic, gothic height translates into Mary’s heights of virtue, especially Mary’s love of God and love of neighbor. While the most perfect creature every created, Mary is neither distanced nor removed from the human race, but rather Mary’s excellence of grace and virtue serve as a constant impetus and reminder to all humanity of the heights to which God has called men through the Incarnation and Paschal Mystery of Jesus Christ. Just as a gothic steeple may loom over a city, it is nonetheless an integral part of that city and often the landmark; so too, Mary’s perfection of all virtues raises to unrivaled heights as a witness to man’s eternal destiny and the heights of the contemplative life to which all men are called by grace.
Foliated Gothic Design
Finally, Marian Gothic is necessarily characterized by the abundance of floral elements that are quasi-omnipresent, having been carefully selected. If considered merely from the perspective of the monks themselves, flowers may seem a rather peculiar choice for a manly group of monks, but the flowers are not for the monks, but rather for Mary. Ecclesial architecture has long been grounded in the theological assertion that in sacred spaces God dwells with men, a new Garden of Eden. In the floral motifs present in Christian churches, the notion of the House of God as a Garden is communicated. Here, in Marian Gothic, the flowing vines and delightful flowers celebrate the joy God finds in dwelling in Mary’s womb and in Mary’s soul by the fulness of all grace. Whereas God delighted in the Garden of Eden with Adam and Eve before the Fall, Mary is the New Eve in Whom God takes singular delight. Within Mary’s monastery, the monks are as if spiritually wrapped up in this delight of the Triune God in the Virgin Mary, and there the monks dwell as in a paradise awaiting heaven’s beatitude. Accordingly the local vegetation and wildlife that adorn the outside of the monastery’s oratory are transformed in the interior into the most exquisite plants and flowers with noticeable elegance of appearance. Through the painstaking creation of this richness of plant life, the monks—both artists, carvers, and masons—somehow enter into the creativity of God Himself through human ingenuity to return praise to the Creator and honor to His Mother.
Why Build in Gothic Today
(The Carmelites spend their allotted work time on construction. See their Horarium here.)
If Gothic is such a sublime and uplifting form of architecture, why is it so rare to see it used today in its fullness, rather than simply a façade or imitation? The answer lies in the expense, both in time and money. The beautiful cathedrals did not come easily; they were the fruit of the faith and dedication of countless people who spent their lives building those magnificent structures. They had a vision of something so much bigger than themselves; they had great faith.
But is it possible to justify such great expenses, such lavish decorations, such exaggeration? Can one not still worship God in a simple, humble chapel?
This argument is not new. Abbot Suger, the founder of Gothic, faced the same criticism. In reply he said “To be sure, those who criticize us argue that a holy mind, pure heart and faithful intention should suffice for this task. These are, we agree, the things that matter most; yet we profess that we should also serve God with the external ornaments of sacred vessels, in all internal purity and in all external nobility, and nowhere is this to be done as much as in the service of the holy sacrifice. For it is incumbent upon us in every case to serve our Redeemer in the most fitting way in all things, without exception.”
One must remember why Gothic architecture came into being. It is for the worship of God, to raise the mind and heart to what is heavenly through the created world around us. If one built a Gothic church for himself, a “temple of self worship”, then it would indeed be a most deplorable thing. But it must be kept in mind who such glorious edifices are built for. The Gothic church is built for God, a place for generations, even centuries, of souls to come and know Him. Gothic, when built in a spirit of deep faith, is God’s architecture, where heaven touches down to earth.
Conclusion
As you can see, gothic architecture is not an arbitrary choice, but rather an intentional decision on the part of the entire monastic community in the hopes of participating in a newfound Marian century of love and praise of the Holy Mother of God that includes not only orthodox Marian doctrine and sound Marian devotion, but Mary’s celebration in art and architecture—including the Wyoming Carmelite’s own unique “Marian Gothic.”