Owen Jones, Grammar of Ornament : Proposition 1
The Decorative Arts arise from, and should properly be attendant upon, Architecture.
Painted or sculpted/plaster ornament certainly embellishes and compliments the architectural forms introducing color and symbolism. However, ornamentation is not simply aesthetic as modern architectural theories may imply. The art and decoration complete the architectural concept and purpose. Cass Gilbert himself “felt that architecture, painting and sculpture were so closely akin that the highest form of art would be the combination of them all.” Further, through the use of paint, design solutions are devised to balance construction inconsistencies. Therefore, decoration is not only beautiful but also practical and necessary to the completion of an architectural concept.
As with every architectural style, the decoration must be a natural continuation of the architectural forms found in the construction. Gothic draws from a variety of forms based in architectural tension and redistribution of weight as well as a generous variety of ornament and design justified by visual harmony. These vague descriptions manifest most clearly in the gothic arch. Often an outgrowth of lean sinuous columns, the pointed arch exploits the effect of upward reaching architecture. The illusions of height and light are distorted through the multiple variations of proportion the pointed arch affords to gothic design. This arch is repeated in numerous ways throughout the construction as well as the decoration. In the following example the relationship between the architecture and decoration will be examined using the pointed arch as a repeating form throughout the gothic construction.
Basilica of St. John the Evangelist, Stamford, CT: transept walls
Looking into this transept bay at the Basilica of St. John the Evangelist in Stamford, Connecticut, the pointed arch is seen repeated everywhere from the architectural ribs to the lancet windows and the framed Stations of the Cross to the painted decoration. Together these forms lift the eye towards the heavens and offer an elongated elegance to the interior decoration.
Basilica of St. John the Evangelist, Stamford, CT: before image.
The above image shows the transept prior to the installation of decoration. The interior of this church was never painted in totality, only the sanctuary was completed. The two transepts originally featured balcony seating which was removed, according to legend, due to noisy children playing in the lofted pews. The removal of the balcony in combination with an incorrectly installed vaulted ceiling left large bare wall surfaces to either side of the stained glass window. The vacancy was resolved by designing trompe l’oeil arched niches. The form of the faux architectural niches mimics the wall as well as the window. A spandrel connects the niche to the window and draws with an upward swoop to support the illusion of height lacking in the ceiling. In this example, decoration mimicked as well as resolved the architecture by repeating the pointed arch to create balance. The breakdown of shapes found in the gothic is typical based on a form of geometric naturalism. The arches in the example are divided into two smaller arches utilizing quatrefoils to balance the proportions. In the Gothic, organic vines, leaves and flowers often spring forth directly from the columns and ribs.
Basilica of St. John the Evangelist, Stamford, CT: after image, close-up.
Though defined by a generous application of decoration, a careful study of design development and changes during the Middle Ages as well as the Gothic Revival period will reveal that a restrained hand is necessary lest the decoration become too repetitive and tedious. Owen Jones comments on the decline of Gothic decoration during this period using stained glass and illuminated manuscripts as a guide since very little interior decoration remains. The role of the ornamental painter is to achieve the state of repose so that nothing is wanting to be added or subtracted. To achieve this effect, the interior “should possess fitness, proportion, and harmony (Owen Jones, Grammar of Ornament, Proposition 3).
Owen Jones, Grammar of Ornament : Plate LVIII
The type of paint utilized is selected based on a number of varying factors including but not limited to: color, sheen, vibrance, historic integrity, and compatibility with the substrate. In the lower wall decoration at the Basilica of St. John the Evangelist, different paint sheens and a subtle change of hue were utilized to give a shimmering damask effect. In this way, the wall decoration offers subtle intrigue, catching the light in different ways throughout the room, without overwhelming the overall scheme. In a comprehensive restoration project, different types of paint may be utilized for different effects but may also depend on the preference of the artist.
Cathedral of St. Patrick, Norwich, CT
The Gothic is a complicated style that breaks free of the predictable proportions found in Classical or Renaissance architecture. From early beginnings, there was an evident freedom and playfulness which delivers a successful effect when restrained by balance and harmony. However, its most redeeming qualities quickly become its demise with the slightest excess. All construction should have and convey purpose. In the Gothic, reaching for the heavens with every pointed arch and defying the weight of stone with walls of colored glass, there is immeasurable wonder and curiosity for every age, creed, and kind.
