Gothic’s Genius: Abbot Suger
Taken from Crisis Magazine by Dr. Christopher Blum
“To me, I confess, one thing has always seemed preeminently fitting: that every costlier or costliest thing should serve, first and foremost, for the administration of the Holy Eucharist.”
If one were able to compare the great churches of France in the year 1100 to those standing a century and a half later, the marked difference in architectural style would be easy to see. Many of the elements that had characterized the Romanesque style remained: high stone vaults, internal elevations of multiple stories, pointed arches, extensive sculptural programs, and prominent towers. Yet these same elements were taken up into a more generous conception of interior space and overall monumentality that successfully created what most of us think of when we hear the word cathedral: the Gothic style.
It was in the Renaissance that the new style of the twelfth century came to be called Gothic, because the Goths had been barbarians, and the men of the Italian renaissance tended to downplay the achievements of their rivals to the north. With Chateaubriand’s Genius of Christianity (1802), ideological classicism was dealt a severe blow, and it became respectable and even common to admire high medieval architecture, so much so that the name Gothic has long since lost its original, negative connotation. It is, however, well to be aware that the creators of the style did not call their own churches Gothic. Indeed, we have no idea what they called them, for these master builders left behind no narrative accounts. But their German neighbors, who admired the new style and imported it, did give it a name: the Opus Francigena, or, loosely, the French way of building.
This French style was born at the Abbey of St. Denis, just north of Paris, under the patronage of one of the most extraordinary men of the twelfth century, the Abbot Suger (1081-1151). Beginning in 1137, he presided over the reconstruction of the abbey of St. Denis. His master-builder is unknown to us, but between the builder and the abbot, a new style was forged, a style through which, to borrow from its patron’s own words, “the dull mind rises to truth through that which is material.”Continue reading at Crisis Magazine