Gothic Architecture: a Cultural Revival in Britain

If you're interested in Gothic architecture, this essay delves into how the Elizabethan Era was a transition period between Gothic features and Renaissance detail, with Inigo Jones being the first significant classical British architect to introduce Italianate Renaissance architecture in Britain.

The Renaissance's late appearance in Britain could not have made a better timely arrival. It was thanks to the studies and works of Inigo Jones, an English Architect, who introduced Renaissance detail to the unforsaken gothic features. Gothic architecture was an important revival moment for British culture ever since Roman influence started to make its way out of England. The exit of Roman influence caused Britain to fall into a sense of complacent ideals in not only its culture but religious practices, and governmental integrity. It was a period they refer to as the Dark Ages. The Renaissance begins in the 14th century in Florence, Italy, inspired by the “Renaissance Man” where it promoted curiosity of various topics. People began to feel the need to question and find answers themselves. It was a fervent period where cultural, artistic, political, and economic ideals were challenged. Architecture, one of the more evidently impacted fields, was challenged by the ideologies of architects like Andrea Palladio. Palladio was the greatest 16th-century architect located in northern Italy. His projects consisted of notably Villas and Palazzos. Palladio’s distinct style was heavily swayed by his upbringing and relationships; in addition to his design focus with aspects of symmetry, & geometry that was influenced by Vitruvian rules of proportion and symmetry. These same ideas were later interpreted and introduced to Britain by Inigo Jones.

Inigo Jones is credited as being the first significant classical British Architect to introduce Italianate Renaissance architecture in Britain. This might be a misconception. Although Jones’ style is distinctively different, the architects of the Elizabethan Era before him were also influenced by a classical approach. The mansions of the Elizabethan Period portrayed various new ideals or features. External features included towers, gables, parapets, balustrades and high chimneys. Towers, referred as ‘wings’ internally, were placed on both sides of the design, hinting at the evolution from medieval fortified structures where now it is no longer necessary to fortify one’s home. Both towers and façade were then adorned with the same level of detail to maximize symmetry. Interior features include great halls and galleries acting as a Piano Nobile or main reception area and transition between spaces on all floors connecting the two ‘wings.’ Broad staircases then connect all floor levels where you meet the long galleries in which it moves you through private and public spaces. Another Elizabethan feature is the application of floor-to-ceiling windows on all floors and different spaces, a notion of “more windows than walls” was created and houses began to look outward instead of inward.

A perfect example of such detail is the Hardwick Hall in Derbyshire, designed by an architect named Robert Smythson. The Hardwick Hall was built in 1590-1597 and its one of the most significant Elizabethan country houses. The architect Robert Smythson had a very respectable interpretation of Renaissance architecture. His use of an H-shaped plan created unique experiences within. Beginning with the application of the ‘Great Hall’ in a central position, it not only provides seamless transitional effects throughout the main floor but also anchors the axis of symmetry that is used as a constant design factor reflected in its floor plan, and façade. Connections between floors are made through a Grand Staircase carved in newels and pierced balustrades. The staircase is strategically located adjacent to the long galleries on each upper floor that not only act as transitions from public to private space but are well naturally lit spaces in which the family is highlighted through different portraits and pieces of art. The idea of having such a grandeur staircase was purposely done in contrast from the inconvenient corkscrew staircases of the medieval period, something that they were more than happy to move away from.

Elizabethan Era acted as a transition between Gothic features and Renaissance detail. This is where Inigo Jones’ trip to Italy to study the works of Andrea Palladio came to his advantage. Jones’ understanding of detail and proportion clearly followed his classical precedents far more closely than the architects before him in the Elizabethan period. Jones makes his imprint in architectural history solely off his design of the Banqueting Whitehall House and of course his earliest work the Queen’s House.