Pugin's_Reasons_for_Gothic_Revival

How would you explain Pugin’s reasons for reviving Gothic traditions in either architecture or ecclesiastical furnishings' Augustus Pugin’s reasoning for the revival of Gothic tradition in architecture encompassed not only his ideals about architecture itself – practicality, aesthetics, and purpose; but also (in his opinion) the positive effects a revival would have on society - cementing national identity, re-found spiritual and moral awareness, and a continuity of past traditions. It was to be the restoration of medieval ethics that would bring about a cessation to the degenerating present, and this included medieval (Gothic) architecture. During the sixteenth century a movement took place to reform the Catholic Church, then in ‘power’, due to disagreements with - and resistance to - the practices that were currently situate. This movement led to the uprising of Protestant churches and practices, which later came to dominate England’s Christian direction. These practices that were now dominating the country were not to the liking of Pugin, for he had found fault in this ‘new’ society’s complacency towards religion, and had disapproved of the classical style of churches (and civil buildings) that had been erected over the past decades. The Reformation and Protestantism, he canvassed, had instigated the deterioration of the country’s architecture: “When these feelings [schism] entered in, the spell was broken, the Architecture itself fell with the religion to which it owed it's birth, and was succeeded by a mixed and base style devoid of science or elegance” (Pugin, 1836, p.3, http://books.google.co.uk/books'id=vKRWAAAAMAAJ&printsec=frontcover&dq=contrasts+augustus+pugin#PPA19,M1) . Pugin attacked Parliaments choice to commission the building of churches following the battle of Waterloo in 1815 (McKellar, 2008, p.126); in his opinion their plans showed no signs of aspiration, or respect it could be said, with regards to ecclesiastical architecture. In his mind, the medieval era was the archetype of a virtuous and spiritual society and the country’s dissent towards the Anglican Church was a direct dissent from these ‘righteous’ attributes. The Anglican Church’s indifference towards places of worship had been perceived by Pugin to be the manifestation of a society more concerned about the materialistic than the values of the church (McKellar, 2008, p.126.) Pugin believed that there was a direct correlation between society and its environment, therefore, a return to Gothic architecture was the undeniable solution to this ‘problem’ Classical architecture, Pugin argued, had stemmed from druidical temples and of those from the Greeks. This style was not native to northern Europe, nor was it Christian - but pagan – hence being incongruous with both the country’s national and religious identity. (Richardson et. al., 2008, p. 109). Pugin’s personal belief was that the Gothic style was ‘distinctly English’ (Richardson, 2008, p.113), and it was this style that was most suitable for official buildings throughout the country. He believed that the neo-classical style that was in fashion at the time had come to dissent from “longer-established Gothic architectural traditions” (McKellar, 2008, p.121). An example of a feature ‘adopted’ from these pre-Christian times was trabeated architecture - the use of vertical and horizontal column and beam to create ‘openings’ within architectural structures (McKellar, 2008, p.128). Conversely, Gothic architecture incorporated the use of pointed arches, and with this skyward feature, the suggestion of reaching up towards the heavens and a symbol of the resurrection of Christ was achieved. Again, for Pugin, this showed Gothic architecture to be ever conscious of religious ethics. However, it was not only through the use of pointed arches that Gothic architecture illustrated religious consciousness; on a whole, Gothic structures were designed with many features that ‘rose up towards the heavens’ in comparison with the classical-styled which tended to remain more ‘towards earth’. The opposing features of each style could be interpreted as a distinct illustration of the different values that architecture could embody. The Gothic’s verticality mirrored a society that aspired towards heaven – to be virtuous, and God-conscious. Conversely, the classical reflected a society that was preoccupied by temporal existence, and the material possessions of the here and now. Pugin’s justification for the revival of Gothic traditions did not stop short at morality. He also believed that architecture should uphold principles within its design. It was Pugin’s opinion that all features of a building must be essential for its proposed function and structure, “...there should be no features about a building which are not necessary for convenience [and] construction” (Figure 4.10, McKellar, 2008, p.129), and that the appearance of a building should reveal its intended purpose. In regards to churches that were standing at the beginning of the nineteenth century, many, at first glance, might not have even been considered to be places of worship. It was the lack of functionalism in architecture which Pugin despised, leading him to believe architecture unworthy without appropriate design Classical architects were known to use pilasters – flat rectangular constructions placed against a wall - which held no function in the support of a building’s structure (McKellar, 2008, p.130). These pilasters were merely an imitation of columns, placed one might say, as an afterthought, as opposed to having a valid purpose during the planning of a building. In Pugin’s mind, this ‘delayed reaction’ in architectural aesthetics was against his principles and theories - going back to his belief of all features being essential for a buildings structure. To continue with architectural aesthetics, it also appears that Pugin was in preference of the overall beauty of the Gothic style, whereas current erections had just been “paltry”. He describes the churches of the time as “a disgrace to the age” and their construction to be “in perfectly nondescript styles, forming the most offensive masses of building”. (Richardson et al., Reading 4.2, 2008, p.146). If we are to take these words alone, the revival of Gothic architecture was needed for the sole reason of reinvigorating the attractiveness of the country’s environment. From the stance many of Pugin’s written publications (especially Contrasts, and The True Principles) had taken, it seems that it was his urgent desire for an end to society’s spiritual, and in turn, moral decline that had really spurned Pugin on to be a fervent advocate of the return of Gothic tradition. Aside from his spiritual ambitions, Pugin also endeavoured to justify a revival by demonstrating the architecture’s appropriateness for function and appearance.