“Morality” of Gothic Architecture

Those who admired Gothic architecture also tended to admire the period in history that gave rise to it. In part, their admiration extended to the “purer” ethos of the medieval period. The proponents of this perspective pointed to the code of chivalry by which the knights of the time purportedly lived and to the specter of courtly love. These proponents also brought their idealism to the buildings themselves. John Ruskin, after his study of Venetian buildings, expressed the opinion that the stone-carvers’ fantastic focus on the details in their work was a sacrifice that caused Gothic architecture to be superior to all other forms. He argued in support of this greatness in his two theoretical works, The Seven Lamps of Architecture (1849) and The Stones of Venice (1853).

This position was a mirror of the position held by A.W.N. Pugin, a furniture designer who provided luxury goods that featured Gothic style and details. As a young man, Pugin published a series of architectural drawing in five volumes in association with his father, which remained in print as reference texts for over a century.

In some of his books, Pugin suggested that not only medieval art but also that fundamental medieval values were to be admired as being somehow superior to the culture in he lived. Convinced of this superiority, Pugin suggested that Gothic architecture was “true Christian architecture.” He also suggested that it was the Roman Catholic Church that created the pointed arch favored by Gothic architecture. This suggestion may or may not be true; however, the square and pointed Gothic architectural lines do stand in contrast to the curvature preferred by the Eastern Christian churches.

The British House of Parliament is the most famous of all of Pugin’s architectural designs. His design was limited to the walls and details, however. Charles Barry, whose background in classical design provided the building’s symmetry, designed the layout of the building.

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