Architecture and Interior Design: An Integrated History to the Present
First Edition
Chapter 31
Gothic Revival
1830s – 1880s
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Copyright © 2012 Pearson Education, Inc. All Rights Reserved
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K. Victorian Revivals
1830-1900 named for Queen Victoria of British Empire
During her reign, major transformation of life & society
Industrial Revolution alters how people live, work, play, build, & decorate.
Class structure, family & gender roles change
Unprecedented spending power creates consumer class
Explosion of goods & numerous, swiftly changing styles
Designs characterized by historicism & revivalism
Choice of style driven by fashion & associationism
Buildings & furnishings have important social & cultural messages that change quickly
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Gothic Revival
Deliberately revives Gothic & other styles of the Middle Ages
Begins in England c. 1700, challenges supremacy of Neoclassicism by early 19th century
At first, applies ecclesiastical architectural motifs to contemporary forms
Study & scholarship move toward greater dependence upon medieval prototypes
Eventually, unique expression indicative of its time
Elements of Gothic Revival theories foundations for later design reform movements
An international style
Begins earlier & longer sustained development in England
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Concepts
Stylistic development interweaves with nationalism, literary & historical associations 18th & 19th centuries
England, France, & Germany claim as their design heritage
Mainly churches & castles with little emphasis upon accuracy in design in 18th- early 19th centuries
Visual complexity, appeal to senses, image important
Study & publication of medieval structures stimulates correct use of context, form, & detail
More public interest & sources of inspiration for designers
Distinguish various styles of the Middle Ages, choose among them for preferences or associations
1850s more eclectic, less dependent upon precedents
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Architecture
Gothic forms & motifs adapted or copied from medieval structures in all phases & all countries
Early or Picturesque Gothic Revival: from 1750s, asymmetrical assemblages of Gothic architectural elements
Gothic Revival (1830s-1880s): accuracy in form & detail
Pugin & others promote as a moral style & antidote to problems of industrialization
American innovation: wooden Gothic churches, houses
High Victorian Gothic (1850s-1880s): bold geometric forms, simple outlines, structural polychrome, greater eclecticism
Gothic Revival & Design Reform (1850s-1920s): less overtly Gothic, designers apply principles of medieval design
Honest structure & materials, fewer medieval details
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31.1
Architectural Details: Wall detail, S. Giles Church, 1839-1844, Cheadle, Staffordshire, England; Augustus W. N. Pugin. Gothic Revival.
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31.2
Trinity Church and nave, 1841-1846; New York City, New York. Richard Upjohn. Gothic Revival.
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31.3
All Saints Church, Margaret Street, 1849–1859; London, England; William Butterfield. High Victorian Gothic.
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31.4a
New Palace of Westminster (Houses of Parliament), 1835-65; London, England; Sir Charles Barry and Augustus W. N. Pugin. Gothic Revival
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31.4b
The Lords’ Chamber, House of Lords, New Palace of Westminster (Houses of Parliament), 1835-1865; London, England. Augustus W. N. Pugin. Gothic Revival.
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31.5
Midland Grand Hotel and S. Pancras Station, 1868–1874; London, England; Sir George Gilbert Scott. High Victorian Gothic.
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31.6
Royal Courts of Justice (Law Courts), 1874–1882; London, England; George Edmund Street Gothic Revival.
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31.7
Old State Capitol and stair hall, 1847–1849; Baton Rouge, Louisiana; James H. Dakin. Gothic Revival.
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31.8
Rotch House, 1846; New Bedford, Massachusetts; Alexander Jackson Davis. Gothic Revival.
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31.9a
Lyndhurst,1838–1865; Tarrytown, New York; Alexander Jackson Davis. Gothic Revival.
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31.9b
Lyndhurst, floor plan,1838–1865; Tarrytown, New York; Alexander Jackson Davis. Gothic Revival.
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Long Description:
The boundary walls have a geometrical pattern. The building has a drawing room on its left. A saloon and a hall are next to the drawing room. The vestibule and carriage porch is at the bottom. A dining room, a library, a passage, an office, and a stair lobby are in the middle. A cabinet, Entry and postern, dining room, Butler’s pantry, and storage are on the right.
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31.9c
Dining room, Lyndhurst, 1838–1865; Tarrytown, New York; Alexander Jackson Davis. Gothic Revival.
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Interiors
Relate to exterior by Gothic elements & motifs
May be architectural, as in fan vaulting, or finishes, such as wallpaper
Do not emulate originals & rely on fixed elements instead of movable ones like originals
Early or Picturesque Gothic: Gothic motifs in classical arrangements or combined with Rococo, lighthearted
Gothic Revival: more correct use of Gothic elements, polychrome, many patterns that are two-dimensional & stylized with no shading
High Victorian Gothic: structural polychrome, bold details
Gothic Revival & Design Reform: less literal use of Gothic, simpler, less ornament
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31.10
Main entry hall, Kingscote, 1841; Newport, Rhode Island; Richard Upjohn. Gothic Revival.
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31.11
Dining Room, Cardiff Castle, c. 1870-1875; Cardiff, Wales; William Burges. Gothic Revival.
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31.12
Tile floors, 1860s-1880s. Augustus W. N. Pugin and William Butterfield.
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31.13
Wallpapers: Various patterns and motifs related to the period, mid- to late 19th century; England and the United States. Gothic Revival.
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31.14
Lighting: Candlesticks, and wall sconce. 1840s-1880s; England and United States. Gothic Revival.
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Long Description:
The first candlestick has a concave bottom with four short legs and a stick rises from the bottom. A heart symbol shape with floral patterns is in the middle and terminates with a candle holder. The second candlestick has a hexagonal bottom with six legs and a stick rises from the bottom. A flat floral design plate extends from the middle of the stick and the top is terminated with a candle holder.
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Furnishings & Decorative Arts
Gothic & other medieval architectural details applied to contemporary furniture forms
Early Gothic: combines Gothic & Rococo, Rococo disappears in early 19th century
1830s, Pugin designs in Gothic manner based upon precedent studies
Medieval forms, details; honest, visible construction; truth to materials
Few followers
1850s Reform Gothic simpler, less obviously Gothic
Simplicity, chamfering or low relief carving, spindles, naturalistic or geometric decoration
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31.15
Side chairs published in Ackermann’s Repository of the Arts, July 1823; England. Gothic Revival.
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Long Description:
The first chair has curved legs, a polygonal cushion sheet, lower armrests that decline from the back frame, and a decorated back. The second chair without armrests has vertical front legs and curved back legs, and a floral back has a cross sign on its top. The third chair has curved legs, a circular cushion seat, and a back with a geometrical pattern.
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31.16
Carver chair and armchair, c. 1820s–1870s; England. Gothic Revival.
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Long Description:
The chair has an oak leaf on the top, a Heraldic motif with a lion, a Pointer arch on the back frame, a Heraldic motif, and tracery on the splat. The frame has clustered columns, straight lines, and rectangle emphasis. The chair has low relief carved decoration, carving of foliage, and a pointed arch.
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31.17
Bookcases and chest, c. 1850s–1870s; England and the United States; Andrew Jackson Downing and Augustus W. N. Pugin. Gothic Revival.
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31.18
Washstand, c. 1880; London, England. William Burges. Gothic Revival.
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31.19
Bed and wardrobe, c. 1870s; England; Bruce Talbot. Reformed Gothic.
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31.20
Bed, c. mid-19th century; United States. Gothic Revival.
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