Brick Gothic (German: Backsteingotik, Polish: Gotyk ceglany, Dutch: Baksteengotiek) is a specific style of Gothic architecture common in Northwest and Central Europe especially in the regions in and around the Baltic Sea, which do not have resources of standing rock, but in many places a lot of glacial boulders. The buildings are essentially built using bricks. Buildings classified as Brick Gothic (using a strict definition of the architectural style based on the geographic location) are found in Belgium (and the very north of France), Netherlands, Germany, Poland, Lithuania, Latvia, Estonia, Kaliningrad (former East Prussia), Sweden and Finland.
As the use of baked red brick arrived in Northwestern and Central Europe in the 12th century, the oldest such buildings are classified as the Brick Romanesque. In the 16th century, Brick Gothic was superseded by Brick Renaissance architecture.
Brick Gothic is characterised by the lack of figural architectural sculpture, widespread in other styles of Gothic architecture. Typical for the Baltic Sea region is the creative subdivision and structuring of walls, using built ornaments and the colour contrast between red bricks, glazed bricks and white lime plaster. Nevertheless, these characteristics are neither omnipresent nor exclusive. Many of the old town centres dominated by Brick Gothic, as well as some individual structures, have been listed as UNESCO World Heritage sites.
The real extent and the real variety of this brick architecture has to be distinguished from the view of late 19th and early 20th century, especially the years around the end of World War I, when it was instrumentalized, politically.
Indeed, about a quarter of medieval Gothic brick architecture is standing in the Netherlands, in Flanders and in French Flanders. Some dominant buildings combinations of brick and stone. But the criterion "no stone at all" looks like a trick to exclude them.[according to whom?] The towers of St Mary church in Lübeck, the very top Brick Gothic church of the Baltic Sea region, have corners of granite ashley. And many village churches in northern Germany and Poland have Brick Gothic design, but most of their walls are formed by boulders.
Brick Gothic architectureEdit
Different from other styles, the definition of Brick Gothic is based on the material (brick), and by a more strict definition, a geographical limitation (countries around the Baltic Sea). In addition, there are more remote regions with brick buildings bearing characteristics of this architectural style further south, east and west—these include Bavaria, and western Ukraine and Belarus, along with the southern tip of Norway.
In the course of the medieval German eastward expansion, Slavic areas east of the Elbe were settled by traders and colonists from the overpopulated Northwest of Germany in the 12th and 13th centuries. In 1158, Henry the Lion founded Lübeck, in 1160 he conquered the Slavic principality of Schwerin. This partially violent colonisation was accompanied by the Christianisation of the Slavs and the foundation of dioceses at Ratzeburg, Schwerin, Cammin, Brandenburg and elsewhere.
The newly founded cities soon joined the Hanseatic League and formed the "Wendic Circle", with its centre at Lübeck, and the "Gotland-Livland Circle", with its main centre at Tallinn (Reval). The affluent trading cities of the Hansa were characterised especially by religious and profane representative architecture, such as council or parish churches, town halls, Bürgerhäuser, i.e. the private dwellings of rich traders, or city gates. In rural areas, the monastic architecture of monks' orders had a major influence on the development of brick architecture, especially through the Cistercians and Premonstratensians. Between Prussia and Estonia, the Teutonic Knights secured their rule by erecting numerous Ordensburgen (castles), most of which were also brick-built.
Brick architecture became prevalent in the 12th century, still within the Romanesque architecture period. Wooden architecture had long dominated in northern Germany but was inadequate for the construction of monumental structures. Throughout the area of Brick Gothic, half-timbered architecture remained typical for smaller buildings, especially in rural areas, well into modern times.
In the areas dominated by the Welfs, the use of brick to replace natural stone began with cathedrals and parish churches at Oldenburg (Holstein), Segeberg, Ratzeburg, and Lübeck. Henry the Lion laid the foundation stone of the Cathedral in 1173.
In the Margraviate of Brandenburg, the lack of natural stone and the distance to the Baltic Sea (which, like the rivers, could be used for transporting heavy loads) made the need for alternative materials more pressing. Brick architecture here started with the Cathedral of Brandenburg, begun in 1165 under Albert the Bear. Jerichow Monastery (then a part of the Archbishopric of Magdeburg), with construction started as early as 1148, plays a key role regarding Brick Gothic in Brandenburg.
Romanesque brick architecture remained closely connected with contemporary stone architecture and simply translated the latter's style and repertoire into the new material. The afforded techniques as well as decoration elements that fit to the "new" material were imported form northern Italy, where they had been developed in Lombard Style (see above). Very important among these techniques was the usage of preformed brick to realize delicate ornaments. Brick Gothic also based on Romanesque building (in stone and in brick) of its region, but in its central regions, Romanesque stone buildings were rare and often humble.
In most regions of Brick Gothic, boulders were available and cheaper than brick. In some regions, cut stone was available as well. Therefore, besides all-brick buildings, there are buildings begun in stone and completed using brick, or built of boulders and decorated with brick, or built of brick and decorated with cut stone, for instance in Lesser Poland and Silesia.
Brick Gothic buildings were often bulky and of monumental size, but rather simple as regards their external appearance, lacking the delicacy of areas further south. Nevertheless, this was not exclusive.
Furthermore, none of these buildings nowadays is exactly the same as in Middle Ages. For instance, many of them have alterations in Baroque style in between and have been re-gothicized in the 19th century (or by reparations after World War II). Especially in the 19th century, some buildings were purified that way. In the city halls of Lübeck and Stralsund, medieval window framings of stone were replaced by new ones of brick.
While ordinary people lived very stationary, some groups that were important for the layout of builings were internationally mobile, bichops, abbots, hight aristocracy and long distance merchants, who decided to build, and the highly skilled specialists among the craftsmen. Therefore, also the Brique Gothic of the countries around the Baltic Sea was strongly influenced by the cathedrals of France and by the gothique tournaisien or Scheldt Gothic of the County of Flanders (where also some important Brick Gothic was erected).
One typical accentuation of the structure of walls, the contrast of prominent visible brick and plastering of recessed areas, had already been developed in Italy, but became prevalent in the Baltic region.
Brick as the basic materialEdit
Since the bricks used were made of clay, available in copious quantities in the Northern German Plain, they quickly became the normal replacement for building stone. The so-called monastic format became the standard for bricks used in representative buildings. Its bricks measure circa 28 x 15 x 9 cm to 30 x 14 x 10 cm, with interstices of about 1.5 cm. In contrast to hewn-stone Gothic, the bricks and shaped bricks were not produced locally by lodges (Bauhütten), but by specialised enterprises off-site.
The use of shaped bricks for tracery and friezes also can be found in some buildings of northwestern Gothic brick architecture. Virtuous use of these elements is shown in some Gothic buildings in northern Italy, where the highly sophisticated techniques originally had come from, developed in the Lombard Romanesque period. There, such brick decorations can even be found on buildings mainly erected in ashlar. Some Italian Gothic brick buildings have also friezes of terracotta.
While in inner northern Germany and in Greater Poland natural stone was hardly available, shipping cities easily could import it. Therefore, St. Mary's Church in Lübeck, generally considered the principal example of Brick Gothic, has two portals made of sandstone, and the edges of its huge towers are built of ashlars, as normally typical for Gothic brick buildings in the Netherlands and the (German) Lower Rhine region. And the very slim pilars of its Briefkapelle (letters chapel) are of granite from Bornholm. In the Gothic brick towers of the churches of Wismar and of St. Nicholas' Church in Stralsund, stone is not used for masonry, but for contrast of colours. At St. Mary's of Gdańsk, all five lateral portals and some simple but long cornices are of ashlar.
Brick architecture is found primarily in areas that lack sufficient natural supplies of building stone. This is the case across the Northern European Lowlands. Since the German part of that region (the Northern German Plain, except Westphalia and the Rhineland) is largely concurrent with the area influenced by the Hanseatic League, Brick Gothic has become a symbol of that powerful alliance of cities. Along with the Low German Language, it forms a major defining element of the Northern German cultural area, especially in regard to late city foundations and the areas of colonisation north and east of the Elbe. In the Middle Ages and Early Modern Period, that cultural area extended throughout the southern part of the Baltic region and had a major influence on Scandinavia. The southernmost Brick Gothic structure in Germany is the Bergkirche (mountain church) of Altenburg in Thuringia.
In the northwest, especially along Weser and Elbe, sandstone from the mountains of Central Germany could be transported with relative ease. This resulted in a synthesis of the styles from east of the Elbe with the architectural traditions of the Rhineland. Here, bricks were mainly used for wall areas, while sandstone was employed for plastic detail. Since the brick has no aesthetic function per se in this style, most of the northwest German structures are not part of Brick Gothic proper. The Gothic brick buildings near the Lower Rhine have more in common with the Dutch Gothic than with the northern German one.
Bavarian Brick GothicEdit
In Bavaria, there is a significant number of Gothic brick buildings, some in places without quarrys, like Munich, and some in places, where natural stone was available as well, such as Donauwörth. Several of these buildings have both decorations of shaped bricks and of ashlar, often tuff. Also the walls of some buildings are all brick, but in some buildings the base of the wall is of stone. Most of the churches share a common distinctive Bavarian Brick Gothic style. The Frauenkirche of Munich is the largest (gothic and totally) brick church north of the Alps. Examples include St. Martin's and two other churches at Landshut and the Herzogsburg (Duke's Castle) in Dingolfing.
Brick Gothic in Poland is sometimes described as belonging to the Polish Gothic style. Though, the vast majority of Gothic buildings within the borders of modern Poland are brick-built, the term also encompasses non-brick Gothic structures, such as the Wawel Cathedral in Kraków, which is mostly stone-built. The principle characteristic of the Polish Gothic style is its limited use of stone work to complement the main brick construction. Stone was primarily utilized for window and door frames, arched columns, ribbed vaults, foundations and ornamentation, while brick remained the core building material used to erect walls and cap ceilings. This limited use of stone, as a supplementary building material, was most prevalent in Lesser Poland and was made possible by an abundance of limestone in the region—further north in the regions of Greater Poland, Mazovia and Pomerania the use of stone was virtually nonexistent.
Brick Gothic in PomeraniaEdit
Much of the coast of the Baltic Sea in the period from the 12th century to 1637 belonged to the Duchy of Pomerania. Nowadays its territory is divided into two parts—middle and eastern in Poland and western-most in Germany. The most outstanding Gothic monuments in this area are Romanesque-Gothic Cathedral of St. John the Baptist in Kamień Pomorski, Cistercian abbey in Kołbacz, ruins of Jasienica Abbey in Police, ruins of Eldena Abbey in Greifswald, St. Mary's Church in Usedom, Castle of the Pomeranian Dukes in Darłowo, remnants of Löcknitz Castle, St. Nikolai cathedral in Greifswald, St. Nicholas' Church in Stralsund, St. Mary's Church in Stralsund, St. Mary and St. Nicholas churches in Anklam, St. Mary's Church in Stargard, St. Nicholas Church in Wolin, St. Peter's Church in Wolgast, Cathedral Basilica of St. James the Apostle in Szczecin, Cathedral of the Immaculate Conception of the Blessed Virgin Mary in Koszalin, Basilica of the Assumption of the Blessed Virgin Mary in Kołobrzeg and Church of Our Lady in Sławno and city halls in Stralsund, Szczecin (Old Town Hall) and Kamień Pomorski. The most important defense systems were located in Szczecin and Dąbie (present district of the city of Szczecin), Pyrzyce, Usedom, Greifswald, Anklam and Stargard with the water gate on Ina river called Stargard Mill Gate.
Gothic Revival – 19th century NeogothicEdit
In the 19th century, the Gothic Revival—Neogothic style led to a revival of Brick Gothic designs. 19th-century Brick Gothic "Revival" churches can be found throughout Northern Germany, Scandinavia, Poland, Lithuania, Finland, the Netherlands, Russia, Britain and the United States.
Important churches in this style included St Chad's Cathedral, Birmingham (1841) by Augustus Pugin, the 1897 Mikkeli Cathedral in Mikkeli in Finland, and St. Joseph's Church in Kraków, Poland is a late example of the revival style.
Notes and referencesEdit
- Otto Stiel, Hans Wentzel. "Backsteinbau". Reallexikon der deutschen Kunstgeschichte. pp. 1345–1372.
- Jens Christian Holst, Die Rathausfront in Stralsund – zu ihrer Datierung und ersten Gestalt (in Matthias Müller (Hg.) Multiplicatio et variatio: Beiträge zur Kunst : Festgabe für Ernst Badstübner zum 65. Geburtstag, Lukas Verlag 1998, S. 60 ff.)
- Hans Josef Böker: Die mittelalterliche Backsteinarchitektur Norddeutschlands. Darmstadt 1988. ISBN 3-534-02510-5
- Gottfried Kiesow: Wege zur Backsteingotik. Eine Einführung. Monumente-Publikationen der Deutschen Stiftung Denkmalschutz, Bonn 2003, ISBN 3-936942-34-X
- Angela Pfotenhauer, Florian Monheim, Carola Nathan: Backsteingotik. Monumente-Edition. Monumente-Publikation der Deutschen Stiftung Denkmalschutz, Bonn 2000, ISBN 3-935208-00-6
- Fritz Gottlob: Formenlehre der Norddeutschen Backsteingotik: Ein Beitrag zur Neogotik um 1900. 1907. Reprint of 2nd ed., Verlag Ludwig, 1999, ISBN 3-9805480-8-2
- Gerlinde Thalheim (ed.) et al.: Gebrannte Größe - Wege zur Backsteingotik. 5 Vols. Monumente-Publikation der Deutschen Stiftung Denkmalschutz, Bonn, Gesamtausgabe aller 5 Bände unter ISBN 3-936942-22-6
- B. Busjan, G. Kiesow: Wismar: Bauten der Macht – Eine Kirchenbaustelle im Mittelalter. Monumente Publikationen der Deutschen Stiftung Denkmalschutz, 2002, ISBN 3-935208-14-6 (Vol. 2 of series of exhibition catalogues Wege zur Backsteingotik, ISBN 3-935208-12-X)
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