The Main Elements of Gothic
While the Gothic style has great variety and changes significantly depending on its geographic location and age, it is often characterized by 7 key architectural elements: pointed arches, large stained glass windows, rib vaults, flying buttresses, pinnacles and spires, elaborate entry portals, and ornate decoration.
The Pointed Arch: The most distinctive Gothic Element
The most distinguishing characteristic of Gothic is the pointed arch, which gave it the name of Christian pointed architecture. Rather than the wide, rounded arches characteristic of Romanesque buildings, Gothic arches are tall and pointed. The pointed arch relieves some of the thrust, and therefore, the stress on other structural elements. It then becomes possible to reduce the size of the columns that support the arch. So, rather than having massive, drum-like columns as in the Romanesque churches, the new columns could be more slender. This slimness is repeated in all the upper levels as well. In fact, the column basically continues all the way to the roof, and becomes part of the vault. This entire composition accentuates the soaring heights and raises the soul heavenward.
Large Element of Gothic Stained Glass Windows
While stained glass windows are found in many places of worship, they are particularly prevalent in Gothic cathedrals. Featuring meticulously cut colored glass, these kaleidoscopic windows—which are typically either tall and arched ‘lancet’ windows or round ‘rose’ windows—are significantly larger than those found in other types of churches. This allows them to let in more dazzling light. As Gothic developed the windows grew and grew until the walls were transformed into but one gleaming expanse of light.
Gothic stained glass windows are framed in delicate tracery which is composed of symbolic geometric or floral patterns. The glass itself is filled with scenes from Scripture and the lives of the saints, constantly educating the observer on the purpose and goal of this life, that is, the life to come.
Gothic Ribbed Vault Element
In order to incorporate the higher ceilings and taller windows, rib vaulting was born. In the vault, the pointed arch could be seen in three dimensions where the ribbed vaulting met in the center of the ceiling of each bay. These Gothic rib vaults were made of arched ribs that crossed diagonally, thereby taking much of the weight. Romanesque buildings had a weight that bore down directly on the structure, so they required smaller windows and thick walls. With the rib vaults, the pressure of the weight was thrust outwards towards the vault’s corners, and then downwards via columns and colonettes to the ground beneath it.
Ribs of stone are placed at the intersections of the crossing vaults, creating a delicate and lace-like expanse. These ribs while adding a decorative aesthetic also greatly increase the strength of the vaults and the ease with which they are built. The ribs act as permanent formwork for the web-stones that make up the ceiling. As time went on the ribbed vaulting became more complicated and was crossed with lierne ribs into complex webs, or the addition of cross ribs, called tierceron. Gothic vaulting was increasingly filled with more and more complicated patterns, rivaling the tracery windows below.
Gothic Flying Buttress Elements
On top of these advanced vaulting techniques, Gothic frequently employs another unique method of structural support: flying buttresses. These projecting stone structures reinforced the buildings by directing the thrust from the vaults away from the walls of glass and into outer supports. They ensure the strength of the building while at the same time increasing the delicate look of the entire composition. The Gothic elements of flying buttresses also allow for churches to be built much taller, as the weight of the roof is dispersed away from the walls to an external load-bearing skeleton. Pushing back against the outward thrust of the walls, flying buttresses allow for the soaring heights and tall central naves of the Gothic cathedral.
Spires and Pinnacles as Gothic Elements
As a complement to the interior soaring towards the heavens, spires and pinnacles encompass the exterior of Gothic buildings, aiming like so many arrows poised to rocket heavenward.
Spires are tapering architectural elements that complete major parts of the church, such as the bell tower or façade towers. Openwork spires are perhaps the most common; this elaborate spire consists of lace-like stone tracery. It has the ability to achieve radical heights while lending a feeling of lightness because of its skeletal structure. Some of the tallest spires are located in Germany, such as the 530’ tall Ulm Minster, or the 516’ tall twin spires of Cologne Cathedral; buildings that literally pierce the heavens.
The Gothic elements of Pinnacles, though very similar to spires, tended to be much smaller and topped the buttresses. They started out as a structural element meant to deflect the pressures of the vaulted roof downward, literally ‘pinning down’ the sideways pressures of the vault, and also serve as counterweights to extended gargoyles and overhanging corbels. Pinnacles break up the abrupt change in slenderness, as the church building gives way to the mounted spire, lending the building a distinctively Gothic, tapering appearance.
ELABORATE ENTRY PORTALS
With an interior so otherworldly, Gothic builders strive to make the entrance into such a space a fitting portal. These deep and heavily decorated features act as that entrance, bringing the faithful into the interior of the church and at the same time educating them as to the purpose of the building. Frequently filled with statues and scenes, they are one of the most prominent and elaborately decorated parts of the Gothic church and as a “gateway to the divine” are a clear reminder of the solemnity of the space beyond.
The space above the door lintel, known as the tympanum, illustrates scenes important to the function or history of the church. Common themes are the Last Judgment, scenes from the life of Our Lord or the Blessed Virgin, or themes related to the patrons of the particular church itself.
ORNATE DECORATION
A final feature found in Gothic architecture is the proliferation of ornate decorative elements. Gothic ornamentation takes its inspiration from nature. Columns sprout leafy capitals; vines twist along screens. It seems that every surface is full of budding flowers, crawling animals, and intricate patterns. This flowering of styles and overwhelming display of decoration bring all of creation up to God.
Moldings and projecting courses, installed to shed water away from the building, are a popular place to decorate with a variety of flowers, leaves, and geometric patterns. Even window hoods shine with crawling vines and flowers. This interior exudes elaborated foliated friezes that run throughout the building
Gothic Foliation Details
The Gothic elements of Crockets, typically carvings of curled leaves, buds or flowers in the form of a ball or hook, climb up the spires and pinnacles, which terminate in a large finial.
One of the most notable characteristics of Gothic architecture is the gargoyle. Gargoyles are decorative little creatures stand guard on the walls as sculptural waterspouts, placed to prevent rainwater from running down the masonry walls. These numerous sculptures direct the water running off the roof out and away from the building. They are frequently an example of the imagination of the sculptor, covering a wide range from the humorous to the terrifying.
Gothic Sculptures
As Gothic architecture developed the foliage became more realistic and the sculptures more human. Capitals gradually changed from the blocky capitals of Romanesque into the graceful capitals of Gothic.
Statues gradually became more lifelike, depicting the s-curve of movement and the realistic flow of the clothing.
The Gothic spirit that imbues its buildings is not merely vertical; it soars heavenward like a rocket. Its essence lies in its power to embody this dynamic search for the heavenly. The Gothic elements of sculpture and stained glass spring organically from the architectural features rather than being imposed upon them like an afterthought. Like a living plant, a Gothic building enriches itself from its own roots, throwing out foliage, tendrils, and flowers without losing its central unity.