Research:

A Society Stained in the Glass of American Houses of Worship

In the nineteenth century, passionate religious and architectural enthusiasts started a movement that would reshape religious buildings and institutions across both sides of the Atlantic. The Cambridge Camden Society was fundamental in promoting the Gothic Revival movement through its publications(Atterebury). This Society was dedicated to reviving Gothic architecture's spiritual and aesthetic grandeur after The Second Great Awakening, a time of religious comeback (West). Their publications went beyond British shores, influencing and inspiring prominent American architects to imagine and construct iconic buildings across America. The Society's emphasis on returning to medieval style was not merely an architectural preference but a strategic way to promote moral, spiritual, and theological principles (Stanton 10). They saw Gothic architecture as a reflection of divine order and a means to uplift the soul, contrasting with the practical structure of their time. This belief in the sacredness of Gothic design led to their vigorous campaign to reintroduce these principles—key members of the society such as A.W.N. Pugin, whose passionate advocacy and strict spiritual convictions promoted Gothic architecture. Pugin's designs, recognized for his intricate detail and soaring structures, set new standards for church architecture and inspired a generation of American architects. The influence of the Society and Pugin's principles have led to some of the most iconic churches, including New York’s Trinity Church, Grace Church, and St. Patrick's Cathedral. These somber towers, with their pointed arches, ribbed vaults, and flying buttresses, stand as testaments to the Society's influence and the enduring appeal of the Gothic style and grace. Beyond their beauty, these buildings symbolize a more profound development, reflecting the evolving values of the period. The Cambridge Camden Society did more than shape architectural trends; it invigorated a spiritual and cultural renaissance to reconnect Society with its medieval roots. Their legacy, etched in stone and stained in the glass of churches throughout America, highlights the timeless nature of their vision and their transformative power.

The Cambridge Camden Society was founded in 1839 by a group of Cambridge University students and was crucial in reigniting the Gothic aesthetic. Founders John Mason Neale and Edward Jacob Boyce were deeply interested in medieval art and architecture, a passion driven by their religious adherence (Banerjee). Their initiation led to the Society's ambitious goal of restoring the grandeur of architecture, as reflected in their constitution, which aimed to “promote the study of ecclesiastical Architecture and Antiquities and the restoration of decayed or vandalized  Architectural Remains.'' (“The Cambridge Camden Society” 36). Initially, the Society began studying churches in the Cambridge region, revealing the poor maintenance and unthoughtful remodeling of many medieval buildings. This discovery motivated them to advocate for better preservation practices and to restore these historic buildings to their former glory. The founders had no idea this restoration devotion would lead to hundreds of churches being constructed (Stanton 7). The founder's dedication and vision attracted like-minded individuals, inspiring others to join the movement like an intellectual magnet and resulting in rapid membership growth. By 1840, the Society had implemented a constitution, establishing honorary memberships and a committee of fourteen people to manage daily operations and development. (Stanton 15). The Society's focus extended beyond preservation; it sought to influence contemporary church designs by promoting the Gothic building as the most sacred of Christian houses of worship.

Their publications announced an architectural missionary aspiration, displaying their desire to influence new church designs globally. This organized effort was crucial in revitalizing Gothic architecture and influencing British and American church design. Their work challenged traditional, plain American church approaches, lifting the awe-inspiring design by Europeans and decrying the New World traditions of simplicity as arrogant.  They promoted the church’s links to the depth and history of the European establishment as inspiring a more profound tradition yet reimaged in the New World. As Montgomery Schuyler, a member of the Society and publication writer, observed, “the impulse to the Gothic Revival in this country… was necessary.” (Schuyler 145).

The Cambridge Camden Society's various publications were instrumental in circulating their ideas to America. The Ecclesiologist, one of their first widespread treatises, launched in 1841, becoming their mission's primary publication. It was not just a theoretical journal but an advocacy platform that set the Society's principles and criticized contemporary church designs that did not align with their ideals. In its first issue, the editors boldly declare their intention to “expose and document glaring cases of church desecration” and to provide “criticisms upon designs for and new churches.” (The Ecologist 117-18). This assertive stance often led to controversies, as seen in a harsh review of a new church in Cambridge. This caused a massive dispute within the Society, whose critical efforts were also seen in their response to other publications and architectural works. For instance, they critiqued the works of notable figures like A.W.N. Pugin despite his significant contributions to Society and the Gothic Revival. Neale and Webb, leading members of the Society, were unrestrained and unapologetic in their evaluations, pointing out what they perceived as shortcomings in Pugin's approach, particularly his lack of emphasis on the “sacramentality”  of Gothic architecture. This was followed by an awkward apology from the Society, which illustrates their self-awareness of how ruthless their criticisms were viewed (Stanton 21). The Ecclesiologist also emphasized the practical application of Gothic principles, urging architects to study and measure medieval examples directly. This approach was intended to ensure authenticity and adherence to Society's standards of tracery and detail. Their influence extended to the United States, where American architects began to adopt Gothic designs inspired by the Society and partnered members' publications. The strategic use of publication allowed the Cambridge Camden Society to establish a lasting architectural legacy. 

A.W. N. Pugin was a towering figure in the new Gothic Revival movement, and his legacy continues as the profound contributions to the architectural Gothic style in Churches across America as well as the successful promotion of the Cambridge Camden Society ideals. Pugin's architectural principles were deeply rooted in his spiritual beliefs, advocating for authenticity and the intrinsic connection between architecture and Christian values. (Pugin 33). His publication works and his designed churches, such as St. George's Cathedral in Southwark, underscored his dedication to the Revival movement of medieval architectural principles. 

As stated earlier, Pugins had a complex relationship with the Society. Despite this, Pugin's influence on the Society was undeniable, as his works and principles significantly shaped their approach to the Gothic Revival transition to American shores. Pugin and the collaboration between Society influenced American architects and the design of numerous Gothic Revival churches in the United States. His book, The True Principles of Pointed or Christian Architecture, became a seminal text for American architects hoping to use Gothic principles. The Society's embrace of Pugin's ideas facilitated this transmission of Gothic Revival principles to the US. Pugins' tours with Society members, such as his visit to Ely with members of the Society, helped solidify this exchange of ideas (Stanton 20). The Society’s publication, which often featured Pugin's work and principles, further disseminated his influence to American audiences. This relationship between Pugin and the Cambridge Camden Society exemplifies the joining energy between individual genius and organized advocacy.

The Cambridge Camden Society's influence on American Gothic Church architecture was facilitated through strategic outreach and publications. Their aspirations for the Gothic Revival to spread to many countries were woven into their publications. Strategically, the British Society elected Right Reverend George Washington Doane, Bishop of New Jersey, as a patron member in 1840. Doan's involvement signified a formal connection between the Society and the American churches, promoting the spread of Gothic principles to US architects in the colonies. In a visit to England in 1841, Bishop Doane toured Gothic cathedrals, churches, and universities, further cementing his relationship—accompanied by prominent American Churchmen like Nathan B. Warren of Troy, New York, and the Reverend BenjaminI Height, Rector of All Saints Church (Stanton 21). Upon returning to the United States, Doane began implementing the architectural principles they had observed. Doane's Chapel of the Holy Innocents in Burlington, designed by John Batman, was one of the first American churches to directly reflect the Society's influence in the United States. Although these early efforts did not fully conform to ecclesiological standards early on, these individuals marked the beginning of the Society's direct impact on American architecture (Stanton 44). American architects and churchmen had access to detailed studies, measured drawings, and treaties by figures like Pugin and the Brandon brothers, members of the Society. The Ecclesiologist and other publications by the Cambridge Camden Society reach American readers, providing guidelines and inspiration for Gothic Church design. The influx of information helped American architects develop a more profound appreciation for medieval architecture, leading them to adopt the Societies' principles without being directly related, taking inspiration from their publications.

Grace Church and Trinity Church in New York, designed by James Renwick Jr. and Richard Upjohn, are prime examples of the Cambridge Camden Society's indirect influence on Gothic Church architecture. Both churches, built between 1843 and 1846, exemplify the principles of Gothic Revival as advocated by the Society. Renwick, a young and gifted architect, was deeply influenced by the work of A.W.N. Pugin. Grace Church's design, being one of the first churches in the United States along with Trinity, reflects a sophisticated understanding of Gothic principles presented by the English, emphasizing verticality, intricate detailing, and high-quality materials (Rhinelander 340). The architectural features of these two churches demonstrate a departure from earlier American Gothic Revival churches, which often lacked the authenticity and precision wanted by British enthusiasts. These churches' use of intricate tracery and pointed arches exemplifies these aesthetic and structural ideas promoted by Society. Renwick and Upjohn's design drew inspiration specifically from Pugin's illustrated work. Richard Upjohn especially drew heavily from Pugin's works. It is so apparent that Upjohn's Trinity Church looks like it was ripped straight from one of Pugin's drawings featured in one of the Society's publications (Stanton 65). 

Grace Church also featured Pugin's ideas surrounding the dramatic pitch roof style and detailed ornamentation scattered. These churches mark a significant milestone in the American Gothic Revival movement, showcasing the potential of Gothic architecture to create spaces of spiritual and haunting grandeur. These church designs receive widespread acclaim, with contemporary critics praising their authenticity and beauty. Acclaimed architect Arthur D. Gilman wrote in the North American Review of 1844 that the Trinity Church “surpasses any church erected in England since the Revival of the pointed style.” (Stanton 64). When comparing Trinity and Grace Church, you can see how much the Gothic Style had developed in the year and a half between their completions; Grace Church is more closely knit, less rigid, and less austere than Trinity Church. While the brownstone of Trinity and the white marble of Grace invite comparison, the primary distinction lies in how Renwick developed the ornamental possibilities of the style and reduced the amount of intermediary masonry in the elevations. With the works of the Cambridge Camden Society, architects in America drew inspiration, learning how to develop their American style based on the foundation created by the Society (Stewart 55).

The Cambridge Camden Society's commitment to reviving Gothic architecture profoundly influenced American churches. Their efforts, supported by passionate advocates like A.W.N Pugin, promoted a return to medieval ecological design principles that conveyed spiritual and moral values. This movement created some of America's most iconic Gothic Churches, such as New York's Trinity and Grace Church. The Society's publications and collaborations disseminated their ideals, inspiring American architects nationwide. Through their dedication, the Cambridge Camden Society not only reshaped the architectural trends of the time but also invigorated a cultural and aesthetic phenomenon. Their legacy remains in Gothic architecture's enduring beauty and significance in America. The Society's vision has left a lasting impact on their architectural and spiritual mission. Their name will forever be etched in stone and stained in the glass of the most beautiful buildings throughout America.

Work Cited Page

1. Atterbury, Paul. A.W.N Pugin Master of Gothic Revival. Yale University Press, 1995.

2. Banerjee, Jacqueline. "The Cambridge Camden Society and the Ecclesiological Society." The Victorian Web, victorianweb.org/religion/eccles.html. Accessed 15 Feb. 2011.

3. Cambridge Camden Society, The Ecclesiologist. 1841.

4. Eastlake, C. L. "On Evangelical Protestant and Roman Catholic Resistance to the Gothic Revival (1872)." Victorian Web, victorianweb.org/art/architecture/gothicrevival/resistance.html. Accessed 15 May 2024.

5. Glueck, Grace. "The American Gothic Revival Is Explored at Hirschl & Adler." The New York Times, 27 May 2006, www.nytimes.com/2006/05/27/arts/design/the-american-gothic-revival-is-explored-at-hirschl-adler.html.

6. Meyer, Robinson. "How Gothic Architecture Took Over the American College Campus." The Atlantic, Atlantic Media Company, 11 Sept. 2013, www.theatlantic.com/education/archive/2013/09/how-gothic-architecture-took-over-the-american-college-campus/279287/.

7. PHMC. "Gothic Revival Style 1830 - 1860." PHMC > Pennsylvania Architectural Field Guide, www.phmc.state.pa.us/portal/communities/architecture/styles/gothic-revival.html. Accessed 15 May 2024.

8. Schuyler, Montgomery, et al. American Architecture and Other Writings. Volume I. Montgomery Schuyler; Ralph Coe, William H. Jordy. Harvard University Press, 1892.

9. Stanton, Phoebe B. The Gothic Revival and American Church Architecture: An Episode in Taste, 1840–1856. The Johns Hopkins Press, 1968.

10. Stewart, William Rhinelander. Grace Church and Old New York. E.P. Dutton & Company, 1924.

11. West, John G. "Evangelical Reform in Early Nineteenth-Century America." Eerdmans Publishing, 2001, https://www.discovery.org/m/2020/05/evangelreform19thcent-west.pdf.

Gothic Revival

--Gothic Revival in America

I

Examples

Tropes in Gothic architecture

Gothic architecture, with its distinctive style and innovative design, represents a pinnacle in the evolution of medieval European architecture. This style is celebrated for its aesthetic qualities, structural ingenuity, and the use of materials that contributed to its durability and stability. The expansion of Gothic architecture from the 12th to the 18th century saw the development of visually stunning buildings that were remarkably sturdy and resilient.

1. Pointed Arch 

The pointed arch is a defining characteristic of Gothic architecture, differing significantly from the semicircular arches of Romanesque architecture. Its pointed shape helped distribute the force more efficiently, allowing for taller, more slender structures and more oversized windows, meaning it was aesthetically distinct and structurally advantageous. Its shape helped to direct the weight of the stone down into the columns and foundations more efficiently, allowing for taller, more slender walls and more oversized windows.

2. Ribbed Vault Ribbed 

vaulting is another hallmark of Gothic architecture, characterized by intersecting ribbed arches that form a skeletal framework. This feature allowed for the construction of complex ceiling structures, distributing the weight of the roof more effectively and providing support for taller buildings.

3. Flying Buttress 

The flying Buttress is a critical structural innovation that allowed Gothic buildings to reach unprecedented heights. These external supports transferred the roof's weight and thrust away from the walls to external piers, making the walls thinner and incorporating large stained-glass windows. 

4. Stained Glass Windows Stained 

windows are perhaps Gothic architecture's most visually striking element. These windows were decorative and served a didactic purpose, illustrating biblical stories and the lives of saints to an illiterate populace. The extensive use of stained glass, facilitated by the flying buttresses, filled Gothic structures with colorful light. 

5. Gargoyles 

 With their monstrous shapes, Grotesques Gargoyles served a functional and decorative purpose. As waterspouts, they directed rainwater away from the building's walls to prevent erosion. While similar in appearance, Grotesques served a purely decorative role, often reflecting the medieval fascination with the exotic and the monstrous. 

6. Tracery

 Tracery refers to the ornamental stonework that supports the glass in a Gothic window. There are two main types: plate tracery, where the glass is set into openings cut into the stone, and bar tracery, where the stone is carved into delicate patterns, allowing for more intricate designs and more oversized windows. 

7. Sculpture

 Sculpture in Gothic architecture moved beyond the Romanesque period's simple decorative and symbolic functions to a more naturalistic portrayal of figures and narratives. Portals, columns, and facades were adorned with biblical figures, saints, and scenes, serving as visual sermons. 

8. Columns and Piers 

Gothic columns and piers are distinguished by their vertical emphasis, often decorated with intricate carvings and statues. Clustered columns, which bundle several shafts, were commonly used to support the complex vaulting and roof structures. 

9. High Altars and Choirs 

The altar and choir areas in Gothic churches were often elevated and elaborately decorated, reflecting the liturgical focus of these spaces. Usually located in the apse or eastern end of the church, the choir was often separated from the nave by a rood screen adorned with sculptures and artwork.

--Materials in Gothic Architecture 

Stone 

The primary material used in Gothic architecture was stone, with limestone, sandstone, and marble being the most common types. These materials were favored for their strength, durability, and workability. Stone was used in every aspect of construction, from the towering walls and buttresses to the delicate traceries and sculptures that