UNIVERSITY OF SANTO TOMAS

The Pontifical, Royal & Catholic University of the Philippines

COLLEGE OF ARCHITECTURE
S.Y. 2018-2019

COMPARATIVE ANALYSIS BETWEEN MEDIEVAL GOTHIC AND GOTHIC REVIVAL

(NEO-GOTHIC) ARCHITECTURE

SUBMITTED BY:

BAUTISTA, MARK ANGELO

JOSE, JENRISH
LETRERO, ANGEL THERESE
MAZO, EUNICE ANDREA
ROSALES, JAN MATTHEW
SEGISMUNDO, KATRINA

SUBMITTED TO:

AR. CARYN PAREDES-SANTILLAN

APRIL 01, 2019

 TABLE OF CONTENTS

Introduction 2

Burgos Cathedral and Basilica of Saint Clotilde 2

A. Brief History 2
B. Exterior 3
C. Interior 7

Conclusion 11

References 12

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I. INTRODUCTION

Gothic architecture is an architectural movement that originated from France

during the mid-12th century to the 16th century. It rose from Romanesque architecture,
creating a newer and refreshing sight because of its new and complex design.
Architecture in the Gothic period was the most important art form that they valued. It is a
style built by masonry and characterized by its cavernous spaces. Considering that
most of the structures built in the Gothic period were tall churches and cathedrals, there
arose a problem on how the building will support its own weight due to its towering
height. The people utilized new discoveries and technologies such as pointed arches,
rib vaults, and the flying buttresses to support the heavy load of the structure. This
opened up new possibilities in constructing churches and cathedrals back in the Gothic
period. However, the style was used less frequently as time passed on because the
people wanted to bring back the elements of classical period thus, initiating the
Renaissance era.

During the Renaissance era, Gothic architecture was revived for people had
loved its characteristics and elements. Gothic Revival brought back all the elements of
Gothic architecture such as decorative patterns, lancet windows, finials, and others.
One main difference of Gothic architecture to Gothic Revival is the passage of time. As
hundreds of years passed by, newer building technologies were introduced thus
creating easier techniques and materials that was used to construct Gothic Revival
structures. An example is through the presence of stone vaults back in the Gothic era
which then in the Gothic Revival used plaster in moldings to recreate the vaulting
system in Gothic structures. The style was divided into two phases in the United States.
The early Gothic Revival was described as rich but unscholarly and can be seen in the
Richard Upjohn’s Trinity Church. The later style was described as more archaeologically
correct and is evident in Renwicks St. Patrick’s Cathedral. Gothic Revival was
considered one of the most long-lived style. Although, new building and construction
materials were discovered and introduced, the style slowly died out from society.

II. BURGOS CATHEDRAL AND BASILICA OF SAINTE-CLOTILDE

A. BRIEF HISTORY

The Burgos cathedral, also known as Cathedral of Saint Mary of Burgos, is a

Gothic cathedral located in Burgos, in the northern part of Spain. Its construction began
during 1221, ordered by the King of Spain. Architects of the cathedral include Juan de
Colonia, Simón de Colonia, Juan de Vallejo and Juan de Castaneda. Like any other
Gothic cathedrals, Burgos Cathedral was built on a previously older cathedral of an
earlier Romanesque style.

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 Meanwhile, the Basilica of Saint Clotilde (Basilique Ste-Clotilde) is a basilica
church in Paris, located on the Rue Las Cases. The church was designed in a neo-
Gothic style by architect F. C. Gau of Cologne. Its construction began in 1846, but Gau
died in 1853, and so the work was continued by Théodore Ballu who completed the
church in the year 1857. At the time Cathedral of Marseille was about to be recognized
as a new stylistic church architecture project, the acknowledgement of the neo-gothic
style of the Church of Sainte-Clotilde established the first incident to provoke a
controversy on the pastiche of the past regarding the appropriateness of its style,
especially between the bureaucratic power of the administration and the industrialists.

B. EXTERIOR

The Gothic era flourished during the Middle Ages which is then followed by the
Renaissance period. The Burgos Cathedral is one of the Gothic churches that was
affected by the transitional period of architecture styles from Gothic to Renaissance.
Renaissance and Baroque structural and design elements were incorporated into the
cathedral during the early 14th century after its initial construction. Contrary to this, the
Basilica of Saint Clotilde was heavily influenced by design elements specifically from the
Gothic Period thus did not carry elements from the Renaissance period.

Though designed and constructed in different periods, the churches’ exterior

design are remarkably similar. The Burgos Cathedral and the Basilica of Saint Clotilde
are both heavily ornamented by reliefs and carvings, each having respective rose
windows on its façades and both utilized pointed arches as well.

The façade of the Burgos Cathedral

was heavily decorated with reliefs, carvings
and statues especially on the two towers
situated in the main façade. The portals and
openings also explicitly utilized carvings, but
with the addition of pilasters and pinnacles.
The eye-catching element of the cathedral’s
façade is the two tall towers situated in front
of the cathedral as Gothic churches heavily
impose verticality in its structures.

However, the Burgos Cathedral does not

have numerous decorative elements on its
main portal. Though what makes the
structure outstanding is the architecture’s
approach on elegance and harmony; a Figure 1. Facade of Burgos Cathderal (Source:
symmetrical and proportional structure. https://www.thehistoryhub.com/burgos-cathedral-
facts-pictures.htm)

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Despite lacking in carvings and decorations on its portal, the towers and the upper
portion of the main façade is heavily ornamented not only when compared to its main
portal but also to the facades of other Gothic structures.

Figure 2. A closer view of the main portal of the Burgos Cathedral (Source: https://www.sah.org/publications-and-
research/sah-blog/sah-blog/2018/01/11/french-gothic-accent-in-a-spanish-
cathedral?fbclid=IwAR2vrE_X2RtXemmhWNJQ-8eD-lYijvCR49kGOxHdv2hzjjoSc01FwloDCv)

Like most Gothic Churches, the facades of the churches in comparison were
divided into three divisions while flaunting two tall towers, both heavily decorated by
spires and pinnacles. These characteristics gives the impression of the Gothic style,
verticality. The main form of the churches does not differ greatly apart from different
decorative elements in the facade. The Burgos Cathedral’s facade is truly what Gothic
architecture is. Like most Gothic churches, the façade of the cathedral is oriented unto
its west side.

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Figure 3. Facade of the Basilica of Saint Clotilde (Source: https://frenchmoments.eu/sainte-clotilde-basilica-paris/)

As of the Cathedral of Sainte Clotilde was built in the Gothic Revival style, the
churches’ look was heavily influenced by the Gothic Era and though ought to copy and
replicate Gothic churches, Gothic Revival placed emphasis on the replication and
recreation of Gothic elements thus resulting in numerous decorative elements in the
Gothic Style. The facade design was very identical to the Burgos Cathedral. The
cathedral also had constructed two tall towers both on the side the same way that the
Burgos Cathedral had. Although one key noticeable feature in the facade of the
Cathedral of Sainte Clotilde when compared to the Burgos Cathedral was the triangular
pediment in the central facade of the Basilica of Saint Clotilde, which the Burgos
Cathedral lacks. These may be a feature added in the Revival era or just an element
personally added by the architect for preference or a feature necessary for the design.

Contrary to the Burgos Cathedral, the façade of the Basilica of Sainte Clotilde is
heavily ornamented with reliefs, carvings and statues. The consistency and balance of
the design creates balance and contrast in relationship to each other creating aesthetic
beauty, pleasing to the public’s eyes. The portals located in the façade also
commemorates the early Christian pioneers of the city by placing traditional Gothic
statues on the three main entrances of the structure.

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 Figure 4. Details on the facade of the Basilica of Saint Clotilde (Source: https://www.paris-walking-
tours.com/churchofsaintclotilde.html)

Lastly, flying buttresses are one of the

main elements of a gothic architecture and these
are greatly seen especially in medieval Gothic.
However, Gothic Revival structures have smaller
buttress, sometimes none, which is due to the
newly discovered building techniques existed at
the time that made buttresses considered to be
an unnecessary support to the weight of the
church.

Figure 5. Flyring Buttresses of Basilica of Saint

Clotilde (Source: https://frenchmoments.eu/sainte-
clotilde-basilica-paris/)

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C. INTERIOR

During the following centuries, interior designs of both churches reflected the
past or traditional designs but additions were made due to the movement of the different
eras. Sainte-Clotilde Basilica is heavily inspired from churches such as the St. Ouen in
Rouen and was considered old-fashioned due to its relation to its Gothic design roots.
Meanwhile, Burgos Cathedral has focused more on elaborating decorations from the
original Gothic design, and has a vast array of elements that reflect the different styles
from when it was built.

Burgos Cathedral early floor plan layout comes in the shape of a latin cross, a
main characteristic of Gothic architecture, wherein the side aisles are completely free . It
also consisted of five (5) radial chapels surrounding the ambulatory and continues
towards each of side the crossing formed by three (3) rectangular chapels. However, it
is difficult to make a distinction of such shape due to the later addition of fifteen (15)
chapels, which are constructed in the cloister and long aisles in archiepiscopal palace.

Figure 6. Floor plan of Burgos Cathedral (Source: http://www.gutenberg.org/files/31966/31966-h/31966-h.htm)

The central nave, consisting of six (6) bays, is higher and wider than the two (2)
side aisles that continues towards the transept. The work of the transepts is very similar
to that in the nave. The huge rose of the south transept, placed directly under the arch
of the vaulting, is considered to be a splendid element of a Gothic wheel. Its tracery is
composed of a series of colonettes that radiates from the center wherein every two (2)

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of which form, as it were, there is a separate window tracery of central mullion, two
arches and an upper rose. Moreover, the Burgos Cathedral has evidently used pointed
arches and cross-ribbed vault though constructed both as a structural and decorative
element. Among all structures inside the cathedral, the crossing tower is reflected as the
focal point of the interior due to its position, volume, and decorative structure.

Figure 7. Central Nave of Burgos Cathedral (Source: http://www.gutenberg.org/files/31966/31966-h/31966-h.htm)

Figure 8. Reflected ceilings of Burgos Cathedral (Source: https://www.sah.org/publications-and-research/sah-

blog/sah-blog/2018/01/11/french-gothic-accent-in-a-spanish-cathedral?fbclid=IwAR2vrE_X2RtXemmhWNJQ-8eD-
lYijvCR49kGOxHdv2hzjjoSc01FwloDCv)

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 The triforium and clerestory are very fine, especially in the nave. The triforium,
which is an early 13th century work, is strikingly remarkable. Above them are trefoil and
quatrefoil penetrations contained within a segmental arch. The triforium east of the
crossing has only four arches, with much later traceried work above. Continuing above
rises the clerestory in its early vigor, with the addition of comparatively small windows,
consisting of two (2) arches and a rose.

Figure 9. Nave of Burgos Cathedral (Source: https://commons.org/wiki/File:DSC_3960-

Triforio_Catedral_de_Burgos.jpg)

Similar to Burgos Cathedral, Basilica of Saint Clotilde floor plan layout impose
the form of a latin cross, which purpose is to add to its lightness.

Figure 10. Floor plan of Basilica of Saint Clotilde (Source: The Parisian Parish Churches of the Second Empire:
Social Forces and Church Construction in France, 1852-1870)

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 The church emphasized the use of stained-glass windows since pointed ribbed
vaults are considered to channel the weight of the walls. There are three divisions in the
nave with two being side aisles. It has a tripartite nave elevation with pointed arcades,
arched windows, and unlike Burgos Cathedral, it constructed a windowless triforium. In
each arm of the transept, there are two chapels lit by rose windows by Thibaut. St.
Clotilde Chapel, on the eastern side, is decorated by Laugée (frescoes) and by
Lamothe. On the western side, St. Valerie Chapel include decorations by Chancel and
paintings by Lenepveu. Moreover, the Old Testament is depicted more on stained-glass
windows rather than the New Testament.

Figure 11. Reflected ceiling and nave of Basilica of Saint Clotilde (Source: https://frenchmoments.eu/sainte-clotilde-
basilica-paris/)

Figure 12. Stained glass windows portraying each of the chapel’s respective Saints (Source:
https://frenchmoments.eu/sainte-clotilde-basilica-paris/

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 The ambulatory is divided into two in which the entrances are designed by
Guillaume in a haut-relief choir enclosure. The east side, its stained-glass windows
represent the four (4) stages of the life of St. Valerie: conversion, condemnation,
decapitation, and apparition to St. Martial, the bishop of Limoges. The west side, on the
other hand, depicts the life of Clotilde, the Queen of the Franks, in four (4) stages:
marriage to Clovis, the healing of her son Clodomir, baptism of her husband, and then
her death. Lastly, there are five (5) chapels within the ambulatory that contains relevant
decorations to the life of St. Clotilde, a titular saint: St. Louis, Holy Cross, Blessed Holy
Virgin, St. Joseph, and St. Remi.

III. CONCLUSION

Medieval architecture is one of the first architectural styles who deviated from the
classical styles. It was a fresh new start and created a breakthrough in the field of
architecture during the period it was prominent. Most of the first structures in the Gothic
Era was not a planned structure but followed an idea of the people. This idea created
and formed what we now know one of the most overwhelming architectural style in the
world. Few hundred years later after the Gothic architecture style has died down, the
people wanted to bring back the towering verticality of architecture and ought to revive it
which lead to the revival of Gothic architecture known as Neo-Gothic. It was not a new
type of architectural style but the idea the people once had was brought back once
again in the world.

The comparison of Medieval Gothic and Gothic revival narrates the changes of
architecture in different periods of time. Though similar in elements and characteristics,
the difference in the period provided a huge advantage for the Gothic Revival not only in
terms of building technology, but the structures built were highly recognized as an
essential part of their culture and ideals, which are more explicitly seen than in Medieval
Gothic. Ultimately, Medieval Gothic initiated the start of a new era in architecture while
Neo-Gothic architecture revived what was in the past and showed what mark that the
Gothic era has done on the society, thus creating societal change. Architecture is not
represented only through its function and aesthetic but also represented on how it
possess the power to create something out of nothing and change the world.

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IV. REFERENCES

Akande, D. (2018, January). French Gothic Accent in a Spanish Cathedral. Retrieved

from https://www.sah.org/publications-and-research/sah-blog/sah-
blog/2018/01/11/french-gothic-accent-in-a-spanish-cathedral

Atmostfear Entertainment. (2018, April). Gothic Revival Architecture in Comparison to

Medieval Gothic. Retrieved from https://medium.com/@aeonculture/gothic-
revival-architecture-in-comparison-to-medieval-gothic-ab574bdf1c89

Bressani, M., & Viollet-le-Duc, E. (2017). Architecture and the historical imagination:
Eugène-Emmanuel Viollet-le-duc, 1814-1879. New York: Routledge, Taylor et
Francis Group.

Gade, J. A. (n.d.). The Project Gutenberg, Cathedrals of Spain. Retrieved from

http://www.gutenberg.org/files/31966/31966-h/31966-h.htm#page_033

Hudson, J. (2014) "Architecture as Both a Book and an Author: A Comparison of

Revival Gothic to Medieval Gothic Architecture" (2014). Volume 22. Paper 8.

Juliao, D. (n.d.). Burgos Cathedral in Spain: Interior & Architecture. Retrieved from
https://study.com/academy/lesson/burgos-cathedral-in-spain-interior-
architecture.html

Kang, S. (2012). The Parisian Parish Churches of the Second Empire: Social Forces
and Church Construction in France, 1852-1870. Journal of Asian Architecture
and Building Engineering, 11(1), 25-32. doi:10.3130/jaabe.11.25

Paris Église de Ste. Clotilde. (n.d.). Retrieved from

http://faculty.bsc.edu/jhcook/orghist/history/hist050.htm

Pierre. (2016, April). Sainte-Clotilde Basilica, Paris. Retrieved from

https://frenchmoments.eu/sainte-clotilde-basilica-paris/

Soudip, P. (n.d.). Burgos Cathedral Historical Facts and Pictures. Retrieved from
https://www.thehistoryhub.com/burgos-cathedral-facts-pictures.htm

Westologist. (n.d.). Spot a Style: Gothic Revival. Retrieved from

http://www.thewestologist.com/architecture-and-design/spot-a-style-gothic-revival

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