With What Justification Can Italian Architecture of the Period Be Described as Gothic - Research Paper Example

With what justification can Italian architecture of the period be described as Gothic? Introduction Gothic architecture is an architectural style that dominated in most European countries during, the medieval period. During the development of Gothic architecture, Italy separated itself from the rest of Europe. Books Llc (2010: p.134) states that unlike other European country artists, Italian artists did not imitate the architectural styles from Northern France probably due to geologic and geographic factors. However, Gothic architecture first appeared in Italy in the 12th century, and it became indispensable just like in other European countries. The influence came from Northern European Gothic architecture and contained strong regional features, which Jackson (1975: p. 66) claim it is misleading to refer to them as Gothic. This paper will justify that Italian architecture of the period cannot be described as Gothic. According to Books Llc (2010: p.134), Gothic architecture is defined in terms of architectural features and other formal aspects. This include architectural features such as flying buttresses, Gothic Rose windows, ribbed vaults among others, and formal aspects such as verticality and connected spaces. Moreover, political, cultural, religious, ideographic, and iconographic aspects can at times be used to define Gothic architecture. Some political aspects are such as the classical past of Italy and the role of France in determining cathedral fashion (Frank and Crossley, 2000: p.220). Religious aspects include the religious functions of the building, while the iconographic aspects include the meaning and significance of certain buildings and their features at that time. However, Jackson (1975: p.66), argues that Gothic architecture should be defined in terms of physical features, and not political, religious or cultural aspects, among others. The architectural features of Gothic architecture can be exemplified by flying buttresses that support relatively thin walls, shafts split into multiple colonnades, and complex decorations that include both tracery and surface decorations. Others include; ribbed vaults, pointed arches, crockets decorations, gallery, large windows with stained glass, open, connected spaces, rose window with radial tracery, gables, and the use of micro-architect which reflects the overall design in miniature (Jackson, 1975: p.55). For this reason, most Italian buildings that were built during the period are Gothic because they have some of the Gothic architectural features and formal aspects described above. This includes several Italian cathedrals and churches whose building began during the period 1250 to 1400. However, Frank and Crossley (2000: p.221) argues that although some Gothic architectural features are present, the Italian buildings are considered to be part of a continuous Italian architectural development from the classical to the Renaissance. Additionally, some of the Gothic features present in Italian buildings have been found to have been added to a basilica design, with brick construction and marble cladding, small windows, large wall areas, and horizontal and rectilinear. Milan cathedral Among the major cathedrals in Italy described as Gothic, there are Milan, Orvieto, Siena, and Florence cathedrals. Milan cathedral (Duomo di Milan) is the world’s second largest cathedral that was started near the end of the period 1250-1400. Its construction began in 1386 and was completed in the late 20th century. Its 157 meters in length, 45 meters in height and contains more than 3,400 statutes. Frank and Crossley (2000: p.221) state that Milan cathedral has five wide naves that are divided by 40 pillars. It was built using brick, and candoglia. Additionally, the Milan cathedral contains thousands of spires on the exterior, and at the top of the cathedral, there is a statute of the Virgin Mary commonly known as Madonnia (Madonna). Initially, Milan cathedral was constructed in the royannant Gothic style which had heavy French influence. Both the engineers and the architects used a combination of neo-gothic and classic styles, which made it a blend of different Gothic elements. More than fifty foreign and the local masons were involved in the designing of the Milan cathedral. As stated by Fitchen (1981: p.67), the discussions that made prior to the building of the cathedral were well documented. They show that the local masons had extensive knowledge on the French Gothic construction. For instance, the craftsmen were aware of the proportions and techniques used in the construction of flying buttresses that were used in Paris. According to Fitchen (1981: p.67), the driving force of Milan cathedral was Giangaleazzo Visconti who had a wife from the French royal family. He claimed to get his inspiration from a combination of the royal seat and the famous church in Paris, Westminster and Prague that resulted in a Gothic cathedral. Milan cathedral is probably the most Gothic among all the Italian cathedrals. However, despite the cathedral being the most Gothic, it contains flying buttresses that are primarily decorative, and it has small windows, as opposed to large windows, which is a common feature among Gothic structures. It contains colonnade shafts that are wrapped around a central shaft in the interior. Moreover, the shafts consist of drums with full size figures that interrupt the vertical flow. However, although Milan cathedral is considered the most eminent Gothic structure in Italy, its blend of different workmanship and styles makes it appear scarcely Gothic, which has caused a lot of criticism. Orvieto Cathedral The Orvieto Cathedral known as Duomo di Orvieto in Italian is a prominent example of Gothic architecture located in Orvieto, in Umbria, in Italy. According to Swaan (1969: p.64), in 1263, its construction started in order to commemorate the miracle that happened in Bolsena where a priest witnessed drops of blood from the broken bread that he was consecrating. The Gothic architecture of the cathedral is the main attraction that catches the attention of many visitors. The Orvieto Cathedral is constructed like a triptych, and highly decorated in dazzling marble, sculptures and mosaic works. The cathedral has a round arcade with stripped columns that have foliage capitals and round arches below clerestory windows. Additionally, its flat walls do not have mouldings that support the wooden roof. As stated by Frank and Crossley (2000: p.222), the cathedral has jutting cornice that separate the clearstory windows creating a strong horizontal line. In 1305, Lorenzo Maitani was called to reinforce the transept-that the Italian masons had made-with flying buttresses and continued to build the rest of the facade. Moreover, the median entrance and the rose windows have 14th century features that were designed by Benozzo Gozzoli. Also, a part of the church called the presbyterium, which was reserved for the clergy, is Gothic. However, the first design of the cathedral showed more French Rayonnant than the second design that was used. Other Gothic architectural features that are evident in the Orvieto Cathedral include crockets, naves, three portals with pointed arches, and gables (Swaan, 1969: p.64). Florence Cathedral Florence cathedral, also known as Santa Maria del Fiore, which is in the north of the Pizza Della Signoria, is also Gothic. According to Moore (2003: p.197), this cathedral is the fourth largest, worldwide. It was built to replace the previous cathedral of Santa Reparata. Its construction started in 1296 by sculptor Arnolfo di Cambio in Gothic style. However, some Italian architects did not agree with the decision to incorporate the northern Gothic style in to the cathedral, which has raised numerous questions up to date whether it is okay to describe the Florence cathedral as Gothic. Arnolf di Cambio worked on the cathedral until he died in 1302. However, the cathedral scarcely looks Gothic because most of the familiar Gothic architectural features are missing such as the flying buttresses, the clerestory windows and its walls have relatively small openings. Nevertheless, after the death of Arnolf di Cambio, a famous painter, Giotto was appointed as the master of works (Fitchen, 1981: p. 420). In 1334, he designed the sturdy bell tower of the cathedral called the campanile that is a soaring Gothic grace. Additionally, Giotto designed the lowest storey and tower, but died before completing it. Andrea Pisano took over, but in 1369 Francesco Talenti completed it but he left the cupola open. The tower has gothic features although they appear secondary to the main features of the cathedral. The massive dome, that dominates the church, as well as the city, is the achievement of Filippo Brunelleschi who was the master sculptor and architect in Italy. It consists of two layers i.e. a parallel outer shell that protects it from the weather and an inner dome that spans the diameter. Other Gothic features in the Florence cathedral include pointed transverse arches, vast Romanesque interior that has ribbed, dome-shaped quadripartite vault, and verticality interrupted by a heavy cornice at the vault springing. From 1867-1987, the modern facade of the Florence cathedral was constructed by Emilio de Fabris in Gothic style in order to replace the one which had been destroyed in the 16th century. For this reason, the Florence cathedral can be described as Gothic despite the fact that some Gothic features are missing. Siena Cathedral The Siena cathedral is among the best examples of the Gothic architecture in Italy. It started in the Romanesque style in the 12th century but later transformed into the finest example of Italian Gothic architecture (Fitchen, 1981: p. 432). Its construction, which started in 1215, was designed by Nicola Pisano who was known as the Gothic master. His son, Giovanni designed the lower half of the façade. However, in 1339, expansion of the cathedral into a magnificent church began. Some of the Gothic features present in the Siena cathedral include three portals, gables and decorative crockets and figures and a rose window above. However, the rose window does not have radial features, but rectilinear windows with supports (Moore, 2003: p.213). It has a nave with high round arches and heavy Corinthian capitals. The façade is decorated with marble clad with mosaic decorations, which is a typical Italian style. Additionally, the window has round transverse arches with horizontal cornice of sculpted heads and the doors are all equal in size and height (Fitchen, 1981: p. 432). All these features prove that the Siena cathedral was originally built in Romanesque style and later transformed in to Gothic; hence it can be described as Gothic. Saint Francesco of Assisi church Saint Francesco of Assisi church demonstrates Gothic features of the architecture. Its construction began in 1228 and completed in 1239 after the death of St. Francis who was later buried in the lower church. The upper church has Gothic features such as a rose window, pointed garble, pointed single portal, flying buttresses, and pointed transverse arches. Additionally it has French Gothic window tracery and quadripartite ribbed vaults (Bonsanti, Roli and Sartarelli, 1998: p. 56). Other Gothic features in the east façade include an oculus garble and a single entrance porch with rounded archivolt.   The lower church has vaulted chapels with ribbed vaults at the center and a campanile. However, its Gothic features have a political explanation that the people of Franciscans felt for French support of their order (Bonsanti, Roli and Sartarelli, 1998: p. 56). Overall, the St. Francesco of Assisi is described as a late Romanesque church built with some Gothic features. This is because it has a single nave that runs through the ceiling of the lower church supporting the semicircular apse by cross vaulting. Moreover, it has wall space for the cycle of narrative frescoes, and it lacks verticality and soaring lines. It has remarkably little decoration and has no horizontal lines. Santa Maria della Spina church The church of Santa Maria della Spina is a masterly example of Gothic style in Pisa in Italy. Its construction started in 1230 near the Ponte Novo Bridge that joins the streets of Santa Maria and Sant’Antonio, on the banks of river Arno. It used to be a small oratory, but in 1322, its expansion started under the Pisan architect cum sculptor Lupo di Francesco. The expansion ended in 1323. This church exhibits many Gothic features such that it can be described as Gothic experiment. Among the Gothic features evident in this church include two portals that are mounted with arches, double lintels that are divided by a pilaster that supports the tabernacle and a statute of Madonna and a child between two angels (Moore, 2003: p.234). It has roseflowered windows on the upper part of the façade that decorate three triangular pediments, and marble in lays. The back of the church is divided in to three parts by the lancet arches with clear mullioned windows crowned by tympanums and are niches of St. Peter, John and John the Baptist. Other features in the interior of the church include a single nave with trussed ceiling, a presbytery with two pilasters and an archivolt. It has houses in the centre, which is considered the greatest masterpiece of Gothic sculpture and elegant wooden tabernacles sculptured in high relief and painted for the church. Santa Croce church and museum Santa Croce church in Florence was built in 1294 for the Franciscan order under the supervision of Arnolfo di Cambio and completed in 1442 (Roy, Platt and Noble, 2010: p.287). It is one of the largest churches in Europe and quite famous because most famous Italians were buried inside it. It is a basilica church with many Gothic features. This church is designed as an Egyptian cross, an open roof and many tomb slabs in the pavement. Among the main Gothic architectural features present in the Santa Croce church include a single well-lit nave that is wide with spaced piers that support pointed arches. Moreover, it has stained glass windows piercing the walls under vaults, four frescoes that narrate the story of the holy cross, a rose window with radial features, pointed garble, pointed single portal, flying buttresses and pointed transverse arches (Roy, Platt and Noble, 2010: p.287). Window tracery and quadripartite ribbed vaults are also present in the church while the exterior is covered with polychrome marble façade. Additionally, the south nave’s wall is by a gilded limestone. The church of Santa Maria Novella The church of Santa Maria Novella in Florence was built from 1279 to 1357 by Dominican friars a church that is just outside the medieval walls of Florence (Wood, 1902: p.16). It is the least visited among all other churches and cathedrals in Florence, although it has the best Gothic architectural features. The interior has extraordinary works of by Masaccio and Giotto, among others. According to Wood (1902: p.20), the inside looks longer than it is due to the clever decorations of the central arches. The great works of Gothic art in the church were done by a number of the best sculptors and painters. For instance, the trinity was done by Masaccio and is found on the far wall in directly opposite from the side door entrance (Wood, 1902: p.20). The church was also initially covered in frescoes which were later painted over by Vasari. The crucifix also found in the church is an excellent example of the Gothic art. It was made by Giotto and it is found hanging in the center of the central nave. The Strozzi chapel found at the right of the main altar was made by Filipino Lippi as a dedication to St. John the Evangelist (Wood, 1902: p.20). The main Gothic features inside the church include a single nave with pointed transverse arches and quadripartite ribbed vaults that are supported by pillars. The inside is shaped like an Egyptian cross in Romanesque-Gothic style. Moreover, it has a rectangular east end of Cistercian square bays, a rose window, and verticality that is lowered by a stripped decoration on the ribs (Wood, 1902: p.113). However, the ribbed vaults are domed in order to reduce the need for buttresses, and it has small oculus windows in the clerestory. Conclusion However, the Gothic architectural characteristics described above are mostly based on architectural features; therefore, the debate that Italian architecture of the period is not Gothic can only be based on cultural reasons. Several factors have come up which contributed to the failure of Gothic architectural style in Italy. According to Frank and Crossley (2000: p.67), Gothic style was considered alien that he describes as a fear and distain of the barbarian west mostly France. Moreover, Italy had many small towns that were mostly poor and each had its own bishop. For this reason, there was limited space to build large buildings except in large cities like Florence and Siena. However, in such large cities, the general population had to be involved in decisions making when constructing large buildings like cathedrals. Thus, the overall designs and decorations had to be accepted by the majority of people in Italy who were highly conservative in their approach (Scott, 2006: p. 134). Italian artists also preferred to use certain materials for the building which were different from the once used by other European countries. They preferred to use marble and brick which changed the form except in Baltic area where they used brick construction and adopted the Gothic style. Hitchcock (1971: p.24) claim that they made small windows as opposed to large in order to keep out the heat of the sun, which changed the overall features of the Gothic style. Additionally, the oculi that was used in Italy is similar to the oculus of the Roman Pantheon. According to Scott (2006: p. 134), although the ribbed vaults are said to be an indication of Gothic style, they were found in Italy at the same time they appeared in northern Europe. For this reason, Frank and Crossley (2000: p.67), argue that it is hard to describe Italian architecture as Gothic based on the architectural features alone. Some people claim that Italian architecture is a continuous line of evolution Romanesque style into a modernized style that is not Gothic. Hitchcock (1971: p.78) claims that the modernized style is, as a result, incorporation of Gothic elements into the Italian architecture due to outside influences and fashion. Thus, Italian architecture can be described as a natural evolution of Romanesque style over the period and not the development of a whole Gothic style. Bibliography Bonsanti, G., Roli, G., and Sartarelli, S. (1998). Basilica of Saint Francis of Assisi. H.N. Abrams. Books Llc. (2010). Italian Architecture: Gothic Architecture, Architecture of Ancient Rome, Renaissance Architecture, Roman Forum, Duomo, Piazza San Marco, Books Llc. Frank, P. and Crossley, P. (2000). Gothic architecture: Volume 19 of Pelican history of art, Penguin books, New York. Fitchen, J. (1981). The construction of Gothic cathedrals: a study of medieval vault erection, University of Chicago Press. Chicago. Hitchcock, H. R. (1971). Architecture: nineteenth and twentieth century’s, Volume 15. Penguin Books, Baltimore. Jackson, T. (1975).Gothic Architecture in France, England, and Italy, Volume 1, Part 1.CUP Archive. Moore. C. H. (2003). Development and Character of Gothic Architecture. Kessinger Publishing. Scott, A. R. (2006). The Gothic Enterprise: A Guide to Understanding the Medieval Cathedral, University of California Press, CA. Roy, M., Platt, D and Noble, T. (2010). The Western Humanities: Volume 2, McGraw Hill, New York. Schneider, S. C. (2008). St. Ambrose and the architecture of the churches of northern Italy: Ecclesiastical architecture as a function of liturgy, Proquest Publisher. Louisville. Swaan, W. (1969).The Gothic cathedral. Elek. Michigan. Wood, J. B. (1902). The Dominican church of Santa Maria Novella at Florence: a historical, architectural, and artistic study. O. Schulze Read More