The Gothic Cathedral, Otto von Simson, 1956 - Essay Example

?The Gothic Cathedral, Otto von Simson, 1956, Chapter 2 , Measure and Light Introduction When someone enters a Gothic cathedral the things which immediately strike them are the vastness and symmetry of the solids materials and the ways in which these interact with the play of light , especially if the building is seen at different times of day and the shadows climb and fall, revealing and concealing as they travel. In the preface to this work von Simson describes the mediaeval period when Gothic cathedrals were sent soaring into the heavens as ‘an epoch of faith’ and the buildings as a physical expression of that faith. Chapter Two The chapter begins with a comparison with music. This can be enjoyed at the simplest level by anyone, even birds are mentioned, but there are also those who understand the science of music – how it works , how it constructs links , how it can be composed. He quotes St Augustine of Hippo from the fourth century C.E. in ‘De musica’1 as saying that this is the science of music, a mathematical science. Music is described as an expression of relationships, a mathematical relationship. Augustine’s claim was that number was needed to prevent chaos within the universe. Because these are mathematical concepts the same principles can be applied in the field of the visual arts. In the mediaeval period it was believed that contemplation of geometry would lead on to thoughts of the divine, pointing to what lies outside our normal fields of vision. Augustine realised that both music and architecture have this aesthetic value. Augustine was aware that architecture uses this science of number, but was aware that not every architect was necessarily aware of the rules, even though he could apply them. He considered though that there could be no building of beauty unless the rules were both applied and could be seen to have done so. The whole creative process has to be placed within a framework of mathematical rules, of harmony and proportion. The contemplation of such things were believed to lead to a revelation of God. Mention is made of wave after wave of iconoclasm which aimed to limit this aim of medieval art, but which was never able to fully suppress it. Instead as time passed new styles emerged , ever more fitted to produce the religious experience aimed for . The Wisdom of Solomon is quoted , saying of God ‘Thou hast ordered all things in measure in number and weight ,’ ( Wisdom 11 v 21),2 with the complete creation being seen a heavenly composition, but also an artistic or architectural one. As part of this the buildings were seen as being right in the will of God as they produce feelings of both awe and reverence of the divine. This, according to Curtius, was the world view of the time. They take the place in western Christianity, of the icon among Orthodox Christians, where ideas about the ultimate take the form of visual beauty. Two important strands of thought are described – the unusual version of Platonism based in Chartres, and from Clairvaux a more spiritual aspect. There was an emphasis upon mathematics and the consequences of such thinking. The word architect is discussed with its two early meanings: that of the simple mason and also the cleric in charge of a building. Then later came the idea of the architect not as a craftsman but as a scientist, a ‘theoreticus’ of his art, who quite deliberately uses scientific principles to achieve what is required. The author points how we must not impose modern ideas of what an architect is upon these medieval builders. We know value great craftsmanship, but such workers were little valued in that period, as compared with the theoreticus. Note that link with the word ‘theory ‘. These men were clerics. They did not actually create physical things, climb ladders or use building tools. That was the task of skilled craftspeople. Boethius is mentioned, with his idea that mere carrying out rules to create a work of art if akin to slavery , whereas knowledge of the science from which a work is created is like being a great ruler. The architects are seen as not having a mason’s axe in hand, but were essentially geometrists with compasses and measuring rods. This idea was carried to its ultimate in Chartres, where God was seen as the perfect architect, using what is essentially mathematical science to create without any effort or toil. In the latter years of the 12th century Alan of Lille described God as the ‘elegans architectus’. The cosmos, the palace of this heavenly king is made up, linked and harmonised by making use of many created things. This idea would place the Gothic cathedral as being as perfect a model of the cosmos as possible, with God at its heart and spires reaching up from earth or heaven. Christ on the cross for instance has arms stretched out in love for all, and while the cross is firmly fixed to the earth, but also points up towards the heavens. Alexander of Hales used the idea of the ‘coementarius’ – someone who, when composing ( note the link to music) a building, was someone who ‘measures and numbers and weighs. It could be seen, according to Simson, ( page 32) that the buildings considered to use perfect musical proportions were also those considered to be the most near perfect. This means that concepts such as half, a third, double and triple, could be seen in architecture, as they are heard acoustically when listening to music. Such ideas can be applied not just to lines , but also to solid shapes. The cube is mentioned particularly. Such ideas were seen as proving stability and proportion to the cosmos. Simson ( page 35) describes the cathedral as ‘an intimation of ineffable truth.’ According to the theology of the time God revealed himself in two ways, firstly though his creation, and later, as it says in John 1, through the incarnation of the Word of God as Christ. It was somehow also felt that God was present in these sacred places. While the modern day artist can create more or less whatever they wish, taking inspiration from many sources, but in earlier times the artist or craftsman worked to a rather different truth, one which transcended the everyday human experience. Simson 3tells how the men of Chartres believed that mathematics, especially geometry, could provide a link between life on earth and heaven. Thierry of Chartres , a great exponent of these ideas, believed that he could reveal the truth of the Trinity by demonstrating it geometrically , showing the equality of the three part Godhead. They also saw the word kosmos as including both ornamentation and order.Simpson cites the idea that the men of Chartres tried to change theological ideas into geometrical representations4 . The Platonic idea of the World Soul became linked firmly with the Holy Spirit’s role in creating and ordering matter as described in Genesis 1, which begins with an image of chaos created by God. It was a world formless, dark and empty until divided into light and dark and land and sea. This fits in with Augustine’s ideal ratio of symmetry, that of 1:1. He even saw this special ratio in the salvation, wrought by Christ on the cross . It brought atonement for man’s double death , of the soul because of mankind’s universal sinfulness and of the body because man is a mortal being on the earth. Chartres is said to have turned geometry into theology. They saw creation as having taken place in two parts - firstly the something – the chaos , and secondly, out of this chaotic mess, the ordered cosmos that we know. The musicians and architects are seen as making links which bring order to the building materials of creation – the rock, wood, light and all the rest, when these meet the mind of the architect and the skill of the craftsman. This fits in with the concept of a double creation – one which provided the basic building materials and a second which used these to create order and beauty. Architecture thus imposed order upon crested materials. Proportions which are perfect were thought to give stability to the universe and the cathedral represented this in its observable ratios and proportions. Mention is made of Abelard who described the music of the spheres where saints and angels give praise to God. This he attempted to turn into an architectural image, rather than a musical one. It is pointed out how, in the Bible, in I Kings 6 for instance, descriptions of sacred buildings such as the Jerusalem temples, concentrate on numbers and dimensions, in other word upon the mathematics and the geometry. The study of music and mathematics , especially in monasteries, was thought of a way of preparing for life eternal and were valued as such. Abelard proclaimed that Solomon’s temple was as full of divine harmony as the celestial spheres were. The temple too was seen as ‘a mystical image of heaven’5. Its proportions were seen as perfect because God inspired, and so should also be the proportions of Christian places of worship. If this couldn’t be achieved it was a matter of regret. Yet this wasn’t about creating a mere image, it was about bringing about a reality, a rational for the emerging mysticism. The musicianship of St Bernard is mentioned. It was important to him and he insisted that ecclesiastical music should both radiate truth and sound out the Christian virtues. Bernard claimed that music must be pleasant to the ear in order to stir the listener’s heart, and should be designed to affect the whole person. As he was aware of audible proportions and ratios, he must also have been aware of such things in physical form in the ecclesiastical buildings around him. He was also aware of those things which he felt did not, of should not, fit into such buildings - anthropomorphic carvings for instance. He was also concerned that the towering heights and long extended corridors were not fitting for monastic orders that were supposedly based upon the ideal of a humble life. He is described as iconophobic and Cistercian manuscripts do not have the zoological images found elsewhere. He found the Clunic churches over ornate . This did not reflect the image of humility he felt, but he was also concerned that money used for such ornamentation could have been better used for more charitable purposes. Instead the cloister should be a place where monks in this life prepared for the life eternal. Bernard referred to the parsdisus claustralis or the paradise of the cloister. It can be seen how the creators of these majestic tributes to God were concerned with certain truths ,and how these were lived out in stone and wood to his glory, creating out of simple geometry and basic materials, beautiful places where people could come together in great numbers to praise and worship, and also to reflect on the greatness of their God and the debt they owed him. By the end of the twelfth century the wealth which had supplied the needs of the builders and creators was drying up and tastes changed. The workshops, and the skills they bred, closed down . Instead the monks entered into a period of great austerity. Splendour and comfort were put on hold , and instead s]the inner , spiritual life was emphasised. The exuberance of creativity fell out of fashion. Instead the simple , calmer composition came to the fore. Straight lines came to be preferred to curves and whirls. Simson describes this as a new quietness 6. The newer, simpler buildings were no less worthy, no less capable of inducing a sense of awe. God was as near as he ever was in these temples to his glory. It wasn’t a total change. According to Boeckler 7there were still those instances where the ‘bizarre and extravagant’ could still be seen, especially perhaps in France, but the world had moved on and would continue to do so. Conclusion Today unfortunately the great abbeys and cathedrals are so often more of a tourist attraction than a place of worship, except, in most instances, for a very small group of people. Yet there is a very different air about them. So different for instance from visiting a great chateau or some government building, however grand. There is a contained sense of serenity, of peace and awe, even if others are flashing cameras, or if there is a layer of dust and crumbling stone, which suggests lack of use, or even lack of care. These special places link the 21st century world back with those medieval minds and the God they sought to serve and to glorify. I am reminded of the old story of two men being asked what they were doing. The first answers ‘I’m chipping this stone into a pillar.’ The second, doing exactly the same job , answered , “Me. I’m building a cathedral.” Read More