Gothick - Viollet-le-Duc and Iron Gothic

Viollet-le-Duc and Iron Gothic

If France had lagged slightly in entering the neo-Gothic scene, she produced a giant of the revival in Eugène Viollet-le-Duc. As well as a powerful and influential theorist, Viollet-le-Duc was a leading architect whose genius lay in restoration. He believed in restoring buildings to a state of completion that they would not have known even when they were first built, theories he applied to his restorations of the walled city of Carcassonne, and to Notre-Dame and Sainte Chapelle in Paris. In this respect he differed from his English counterpart Ruskin, as he often replaced the work of mediaeval stonemasons. His rational approach to Gothic stood in stark contrast to the revival's romanticist origins.

Throughout his career he remained in a quandary as to whether iron and masonry should be combined in a building. Iron had in fact been used in Gothic buildings since the earliest days of the revival. It was only with Ruskin and the archaeological Gothic's demand for structural truth that iron, whether it was visible or not, was deemed improper for a Gothic building.

This argument began to collapse in the mid-19th century as great prefabricated structures such as the glass and iron Crystal Palace and the glazed courtyard of the Oxford University Museum were erected, which appeared to embody Gothic principles through iron. Between 1863 and 1872 Viollet-le-Duc published his Entretiens sur l'architecture, a set of daring designs for buildings that combined iron and masonry. Though these projects were never realised, they influenced several generations of designers and architects, notably Antoni Gaudí in Spain and, in England, Benjamin Bucknall, Viollet's foremost English follower and translator, whose masterpiece was Woodchester Mansion.

The flexibility and strength of cast-iron freed neo-Gothic designers to create new structural gothic forms impossible in stone, as in Calvert Vaux's cast-iron bridge in Central Park, New York (1860s; illustration, below). Vaux enlists openwork forms derived from Gothic blind-arcading and window tracery to express the spring and support of the arching bridge, in flexing forms that presage Art Nouveau.

• The upper chapel of the Sainte Chapelle, restored by Félix Duban in the 19th century

• Cast-iron gothic tracery supports a bridge by Calvert Vaux, Central Park, New York City