Gothic Revival

The Gothic Revival was an architectural movement which began in the 1740s in England. Its popularity grew rapidly in the early nineteenth century, when increasingly serious and learned admirers of neo-Gothic styles sought to revive medieval forms in contrast to the classical styles prevalent at the time. In England, the epicentre of this revival, it was intertwined with deeply philosophical movements associated with a re-awakening of "High Church" or Anglo-Catholic self-belief (and by the Catholic convert Augustus Welby Pugin) concerned by the growth of religious nonconformism. He went on to p The Gothic Revival was an architectural movement which began in the 1740s in England. Its popularity grew rapidly in the early nineteenth century, when increasingly serious and learned admirers of neo-Gothic styles sought to revive medieval forms in contrast to the classical styles prevalent at the time. In England, the epicentre of this revival, it was intertwined with deeply philosophical movements associated with a re-awakening of "High Church" or Anglo-Catholic self-belief (and by the Catholic convert Augustus Welby Pugin) concerned by the growth of religious nonconformism. He went on to produce important Gothic buildings such as Cathedrals at Birmingham and Southwark and the British Houses of Parliament in the 1840s. Large numbers of existing English churches had features such as crosses, screens and stained glass (removed at the Reformation), restored or added, and most new Anglican and Catholic churches were built in the Gothic style. Viollet-le-Duc was a leading figure in the movement in France, restoring the entire walled city of Carcassonne as well as Notre-Dame and Sainte Chapelle in Paris. In America Ralph Adams Cram was a leading force in American Gothic, with his most ambitious project the Cathedral of Saint John the Divine in New York (claimed to be the largest Cathedral in the world), as well as Collegiate Gothic buildings at Princeton Graduate College. On a wider level the wooden Carpenter Gothic churches and houses were built in large numbers across North America in this period.

In English literature, the architectural Gothic Revival and classical Romanticism gave rise to the Gothic novel, often dealing with dark themes in human nature against medieval backdrops and with elements of the supernatural. Beginning with The Castle of Otranto (1764) by Horace Walpole, 4th Earl of Orford, it also included Mary Shelley's Frankenstein (1818) and John Polidori's The Vampyre (1819), which helped found the modern horror genre. This helped create the dark romanticism or American Gothic of authors like Edgar Allan Poe in works including "The Fall of the House of Usher" (1839) and "The Pit and the Pendulum" (1842) and Nathaniel Hawthorne in "The Minister's Black Veil" (1836) and "The Birth-Mark" (1843). This in turn influenced American novelists like Herman Melville in works such as Moby Dick (1851). Early Victorian Gothic novels included Emily Brontë's Wuthering Heights (1847) and Charlotte Brontë's Jane Eyre (1847). The genre was revived and modernised toward the end of the century with works like Robert Louis Stevenson's Strange Case of Dr Jekyll and Mr Hyde (1886), Oscar Wilde's The Picture of Dorian Gray (1890) and Bram Stoker's Dracula (1897). ...more

Gothic Revival Books

The Strange Case of Dr. Jekyll and Mr. Hyde and Other Tales of Terror

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Quotes Tagged “Gothic Revival”

“ The Ripper Trail by Stewart Stafford Walking the beat in the Autumn of Terror; Thunderous footsteps, wet cobblestones, Down grim Whitechapel slum alleys, With gaudy posters and bawdy graffiti. What appears to be curling smoky fog Becomes something else on approach: A nauseous, greasy, yellow-green haze, A pulsing miasma of sulphur, rot, and tar. My Constable’s tunic, scant shield From the arresting cold and sleety rain, My lantern fell on a butchered woman, I blew my whistle, hoping help was ...more ”
― Stewart Stafford

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“ It was clear that the city had none of the dignity of older capitals. It did not swagger like London, preen like Paris, or prize artistry like Vienna. Manchester was a brute. It pushed up its sleeves, and it smoked, and hammered, and grew. ”
― Augusta Achard

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