THE FORMATION AND INFLUENCE OF GOTHIC ARCHITECTURE

Kyra Traxler ENVD 3114: History and Theory (Small Scale)

Professor Georgia Lindsay November 20, 2014

Figure 1: The Basilica of St. Denis (Ingersoll and Kostof 2013, 346)

Architectural style: “A coarse grained pattern that provides an abstract framework for a family of

systems. An architectural style improves partitioning and promotes design reuse by providing

solutions to frequently recurring problems” (Microsoft, 2014). As new methods of construction

develop and opinion on “proper” design changes, new architectural styles emerge. Although this

change in style often happens over time, one building can be the keystone for this evolution,

influencing both architecture and society. The redeveloped Basilica of St. Denis was such a

building, highly influential to both the history of architecture and the role of politics in France. In

redesigning the Basilica, not only was a new standard of cathedral architecture created, but a

strong and lasting relationship (at the time unheard of) between the French Monarchy and the

Church, was established.

The design of the Basilica of St. Denis is often considered to be the basis for the development of

Gothic style architecture. Before becoming an iconic French cathedral, St. Denis was a rural

basilica built in honor of Dionysius in the pre-Merovingian era (Walter 1985, 188). However, in

1140, when Abbot Suger redeveloped the choir, Gothic style began to emerge (Ingersoll and

Kostof 2013, 345). By combining elements of mass eliminating structure, such as pointed arches,

ribbed vaults, flying buttresses, and aesthetics, a new way of construction and style of church

construction was developed (Ingersoll and Kostof 2013, 339). An argument can be made that one

person could not have had all the skills necessary to develop the structural engineering and

geometry that was necessary for the construction of the choir of St. Denis. This lends to the idea

that, while Abbott Suger may have led renovations and contributed ideas to the design, he was

not the only mind behind the curtain (Kidson 1987, 1, 11). Yet, as Nikolaus Pevsner states,

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“Whoever designed the choir of St. Denis, one can safely say, invented Gothic Style” (Heyman

1949, 250). Therefore, whether originally constructed by Abbott Suger or not, the redevelopment

Basilica of St. Denis was clearly a key factor in the Gothic movement. Through the work of

Abbott Eudes Clément (Walters 1985, 190), Jean de Chelles and Pierre de Montreuil in the mid

13th century (Ingersoll and Kostof 2013, 351), further development of the Gothic style emerged

at St. Denis. Although Saint Denis, the patron saint of the church, still held symbolic meaning,

the physical building started to take on more aesthetic qualities than symbolic ones. With

increasing heights, skeletal frames, great stained glass windows stretching across the bays, and

exterior walls of Lacey tracery strung between the structure, the defining look of the Gothic style

was formed (Ingersoll and Kostof 2013, 351). This solidification of the methodology of Gothic

style in St. Denis led to a shift in cathedral architecture throughout Europe.

Although the basic premise will remain the same, as styles spread, they tend to evolve with local

traditions and culture. Such was the case with the French Gothic style which spread quickly,

often through traveling masons, to England, Germany, Spain, Poland, Italy and Czechoslovakia

(Ingersoll and Kostof 2013, 339). The adaptation of the style by the English in particular ended

up being highly influential, allowing two different veins of Gothic architecture to develop, each

influencing the other. Traces of gothic style began to appear in English architecture in the 1160s

(Bony 1949, 4). In particular, Canterbury Cathedral held many spacial aspects taken directly

from the design of St. Denis, including repeating piers and a central nave that formed a single

volume leading eastward to the high alter (Bony 1949, 8). Although some aspects of the design

of St. Denis were copied exactly, as was the case with Canterbury, the French and English Gothic

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styles remained distinct. In the words of Abbott Suger, Gothic style to the French meant “the

splendor of space, the beauty of length and width” and the complex arrangement of masses both

internal and external (Bony 1949, 14). In contrast, Gothic style to the English meant focusing on

the elaborate details and ornamentation of the facade and structure (Bony 1949, 14). However,

despite these differences in the philosophy of gothic style, the same basic structural principles

(pointed arches, ribbed vaults, and flying buttresses) remained in both French and English

cathedrals. The flying buttresses of the French may have had more downward thrust, and those of

the English were lower and fatter, but ultimately, the flying buttress remained (Heyman 1949,

263). In order to be a style, there must be a basic set of principles, yet, as shown by the

development of the gothic style by the English and French, a style can be adapted to local

customs and be influential once adapted.

Clearly, cathedral architecture through Europe was influenced by the development of the Gothic

style; however, dynastic politics also played an important role in the development and

importance of Gothic cathedrals. Similar to many twelfth and thirteenth century cathedrals, St.

Denis also served as a tomb; specifically it served as the tomb for royal burials in France. The

pomp and circumstance surrounding royal burials before the twelfth century was fairly limited;

yet, as funerals became symbolic of the authority of the monarchy and the transfer of power to a

new ruler, a place worthy of such an important ceremony was needed (Hallam 1987, 360). The

monks of St. Denis created such a place in order to increase their influence in the monarchy and

their power in France. As the cathedral developed, it became the mausoleum for some of the

most powerful and respected dynasties in Western Europe, soon housing eight Carolingian and

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eight Capetian kings (Hallam 1987, 366, 377). Friend and business partner of Abbott Suger

(Kisdon 1987, 3), King Louis VI was the first to be entombed at St. Denis followed by Philip V,

Philip Augustus, Louis VIII and Louis IX among others (Wight 1974, 229).

Even though Gothic style itself was meant to represent heaven on earth and be a reminder to the

people of the presence and power of the church (Kidson 1987, 7), the monks at St. Denis still

wanted additional support from the monarchy because of the laicization in France in the 13th

century. During the construction of St. Denis, the power in France started to shift from the

church to the monarchy, so much so, that by the end of the century, the King had become more of

an object of devotion to his people than the church (Spiegel 1975, 62-64). As philosophers of the

thirteenth century began to define the state of the world past and present (in terms of

relationships, projects, and ideals), reformers were often forced to question their loyalty to the

church since their findings often opposed the church doctrines (Strayer 1940, 81). One new idea

that came from this philosophical revolution was the idea of definite boundaries of monastic

power rather than the spheres of influence (Strayer 1940, 81). With this idea, the king gained

absolute authority over everyone and everything else, including the church, in his realm. The

shifting loyalties to the monarchy soon integrated into the idea that all subjects were expected to

give absolute loyalty to the monarchy, even before the church (Strayer 1940, 83). As such monks

of St. Denis were forced to cultivate royal favor because of this diminishing of power in the

church.

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The use of Saint Denis as the patron saint of the church in conjunction with various forms of

propaganda, like writing and music, allowed for the monks of St. Denis to gain influence and

power through the French monarchy. Saint Denis was originally chosen to be the patron saint of

the basilica to enhance the prestige of the church in the eyes of Emperor Louis the Pious (Walters

1985, 204). As a national saint who guided, protected, and promoted the well being of the

monarchy, the Capetian dynasty continued to embrace the saint in order to gain national devotion

(Spiegel 1975, 43). As the guardian of the the royal presence, Saint Denis became a symbol of

royal personality through France (Spiegel 1975, 46). Anytime a king was in danger and escaped

said danger, the monks of St. Denis would preach and write about how the saint, “the special

patron, and after God, special protector of the realm,” had protected the king and thus the entire

kingdom (Spiegel 1975, 53, 58). In using Saint Denis as propaganda, through written chronicles

and music (Walters 1985, 189), the monks not only gained favor from the monarchy, but also

gained the favor of the people for protecting their beloved king. The relationship that developed

between the monks at the church and the monarchy was a symbiotic one. As the basilica was

constructed, it served as a form of public advertisement for the monarchy which in turn funded

the reconstruction to provide a new splendor for the church (Walters 1985, 231). Clearly, a strong

relationship developed between the monarchy and the church at St. Denis, becoming mutually

beneficial to each.

The reconstruction of the Basilica of St. Denis in what became Gothic style, and the relationship

that developed between the monks of the church and the monarchy were not mutually exclusive.

The basilica would not have had the influence it did had the monks not cultivated royal favor

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through the use of Saint Denis. Without royal favor, the funding necessary to construct a splendid

cathedral would not have been provided. Without funding, Abbott Suger could not have built the

basilica that became the foundation of Gothic architecture throughout Europe. Architectural

styles do not develop overnight; nor do the develop on their own. Vision, funding, and political

and public support are all necessary to create a new style; especially one as influential and long

lasting as the Gothic style.

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Works Cited

Bony, Jean. 1949. “French Influences on the Origins of English Gothic Architecture.” Journal of the Warburg and Courtauld Institutes 12:1-15.

Crossley, Paul. 1988. “Medieval Architecture and Meanings: The Limits of Iconography.” The Burlington Magazine 130:116-121.

Hallam, Elizabeth M. 1987. “Royal Burial and Cult of Kingship in France and England 1063-1330.” Journal of Medieval History 8:359-380.

Heyman, Jaques. 1949. “The Stone Skeleton.” Department of Engineering, University of Cambridge 2:249-279.

Ingersoll, Richard and Spiro Kostof. 2013. “Gothic Europe.” In World Architecture: A Cross Cultural History, 314-368. New York: Oxford University Press.

Microsoft. “Chapter 3: Architectural Patterns and Styles.” http://msdn.microsoft.com/en-us/library/ee658117.aspx. Accessed November 11, 2014.

Spiegel, Gabrielle M. 1975. “The Cult of St. Denis and Capetian Kings.” Journal of Medieval History 1:43-69.

Strayer, J.R. 1940. “The Laicization of French and English Society in the Thirteenth Century.” Medieval Academy of America 15:76-86.

Walters, Anne. 1985. “The Reconstruction of the Abbey Church at St. Denis (1231-81): The Ceremony with Architecture and Politics.” Early Music History 5:187-238.

Wright, Georgia Sommers. 1974. “A Royal Tomb Program in the Reign of St. Louis.” The Art Bulletin 56:224-243.

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