Gothic Revival designates a key moment in architectural history. It also refers to the use of Gothic forms and motifs in furniture, design, and the decorative arts. It is inextricably connected to the reawakened interest in medieval architecture that began in the 18th century and that provided both its scholarly basis and intellectual context. Thus, Gothic Revival comprises neo-Gothic artifacts as well as the antiquarian, scholarly, and literary texts that fueled it. Scholars distinguish between Gothic Revival and Survival. “Survival” refers to the continued use of the Gothic style in post-medieval building, whereas “Revival” describes the reuse of Gothic details. As an aesthetic term, in 16th-century Italy “Gothic” was associated with the “barbaric” medieval style and by the 18th-century it was equated with bad taste. “Gothick” was used for 18th-century garden architecture, design, and buildings, such as Walpole’s villa at Strawberry Hill or the Gothic House at Wörlitz, both playful amalgamations of Gothic motifs. Lenoir followed a similar aesthetic when he created monuments from the rubble of the French Revolution. With the rise of antiquarian studies and a growing number of architects schooled in the Gothic style, the Revival grew in impetus and importance through the 19th century. Frivolous Gothick gave way to an archeologically informed style that characterized the work of Pugin and Viollet-le-Duc. Neo-Gothic was adopted by Catholics and Protestants alike and promoted by local and national governments. Monumental restoration and completion of edifices such as Notre-Dame de Paris and Cologne Cathedral also played an important role. Significantly, Gothic Revival reflected each nation’s understanding of its history: in England it was nostalgic, looking back to a lost golden age; in France, Gothic forged a continuity with a past irreparably severed by the French Revolution; in the German-speaking lands Gothic was considered to symbolize the lost unity of the medieval German Empire, which meant that the German Revival was forward looking toward future political and religious unity. Creativity and eclecticism characterized the later Gothic Revival, with Romanesque, Byzantine, and Rundbogen styles becoming viable alternatives to Gothic. Scholarship on Gothic Revival dates to the late 19th century, when Eastlake set the pattern for the scholarly discourse. In the early 20th century, Clark and Abraham negatively appraised the Revival, a stance that English architectural historians began to revise in the 1940s. By the 1970s, England, France, and Germany were considered the center of Gothic Revival. In the 1990s Gothic Revival was recognized to be a pan-European phenomenon, and in the 21st century scholars have assiduously explored Gothic’s worldwide spread. This article reflects these scholarly developments.
