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In this essay, by examining developments in Romanesque and Gothic church architecture

I wish to establish the connection between the religious movement of monasticism and the
artistic endeavours of the Middle Ages, from the form of manuscripts to its culmination in
Romanesque and Gothic architecture. To begin, I will examine how the expansion of
monasticism and scriptoriums in the Middle Ages initiated the practice of contemplating imagery
as a means of communing with God. Next, I will describe how ancient methods of spiritual
reading and the illumination of manuscripts would prepare the way for the theological
interpretation of church architecture. By examining the differences between Romanesque and
Gothic styles I will demonstrate how the monastic movement influenced the architectural styles
of the Middle Ages. Finally, by referencing Abbot Sugers (1081-1151CE) treatises written upon
the restoration and renovation of the church of St. Denis, I will explain the theological basis
behind the daunting Gothic style and how every facet was intended to bring the viewer closer to
a divine union with God.
The monastic movement began in the 4th century CE and is generally attributed to St.
Benedict of Nursia. This figure founded Monte Cassino in 529 CE and was recognized for his
writing, The Rule of St. Benedict which provided rules about righteous conduct in every aspect
of the monastic lifestyle, from prayer, reading of divine scripture, chores and manual labor. The
specific method for reading sacred works within the monastery was called the Lectio Divina, or
divine reading. This method of spiritual reading is considered in a four part manner: reading,
meditation, prayer and contemplation. The ideal Benedictine monastery was envisioned as being
completely self-sufficient, such that it would allow the monks to remain closed off from the
world even as they accommodated scholars, royalty and other visiting guests. This example set
by Benedict became the common ideal for a community of Christians, and lead to the eventual

distinction between the regular and secular clergy. The regular clergy were those who chose to
live outside of society with regulations and the secular clergy worked within society.
The view that in order to become closer to God one had to be removed from the corruptions of
society was key to the monastic lifestyle.
In the Middle Ages, the production of literature was largely due to the regular clergy and
took place in scriptoriums contained within monasteries. As a result, much of the literature
available was used by priests and monks for liturgical purposes. Any literature commissioned for
secular society was most often for religious organizations rather than for individuals. All of the
manuscripts produced through scriptoriums were written by religious and devout individuals
within the monastery, and thus were constructed with the method of Lectio Divina in mind.
This reflective method of reading made the monks and nuns engage entirely with the
scripture. Each aspect of the manuscript was therefore created with the same reflection in mind:
the act of reading, praying, meditating upon that which was read, and contemplation. The ornate
lettering was hand-written in a variety of colours, the size of the letters indicating breaks between
passages or the beginning of a chapter. Decoration was added around the initial letter and in the
margins by an artist, often depicting Biblical themes or parables. Some books were filled with
illustrations of with divine figures set in stark contrast with a light background, highlighting the
supernatural qualities of divinity. The medieval manuscript was intended to affect the reader on
three levels: through its content, through its decorative form and through material existence. The
images were not intended to be worshipped in themselves, but as an aid to teach scripture,
exercise memory, and excite devotion. This multifold immersion into the imagery and text
engages the reader entirely in the scripture, to allow through the conduit of contemplation a
closer relationship to God.

During the High Middle Ages, from roughly the 10th century to the 13th, there was a large
increase in population due to a number of factors such as the development of cities, improved
agricultural innovations and political stability. With the expansion of monasticism as well as
increased population, there was a greater requirement for expansive places of worship. Described
by Abbot Suger of St. Denis as, a narrowness which forced the women to run toward the altar
upon the heads of the men with much anguish and noisy confusion (Suger, p. 145) it was this
sense of inadequacy in the size of most churches which inspired the creation of Romanesque
architecture. The founding architects of this style focused on dimensions rather than the material
details. These were not highly decorative buildings, instead they were of a modest height, with
thick stone walls, rounded arches and smaller windows. The large central nave was flanked by
two aisles, and directly opposing the entrance was the semi-circular projection which usually
contained the high altar. A notable trait from the Romanesque period was the large central door
flanked by two smaller ones. The use of three portals into the space of worship is intended to
represent the Holy Trinity. The middle door was called the noble porch and usually depicted the
ascension or resurrection of Christ. It also symbolizes Christ as the only door by which one can
achieve salvation and was therefore only opened on the most auspicious of occasions.
The heavy frame and solidity of Romanesque churches gave an impression of security
and trustworthiness while maintaining a humble interior and exterior. Where Romanesque
churches depicted strength, stability, and simplicity, the transition into the Gothic style of
architecture was marked by a number of key differences. These discerning features include
pointed arches, exterior buttresses for increased support, large stained glass windows and ornate
decoration. The thin walls, slender columns, and the very large areas of glass in Gothic buildings
gave an impression of lightness. The large, stained glass windows gave an impression of

luminous colours and lights when viewed at a distance, instead of the individual biblical themes
and parables which they depicted. Examining the works of stained glass at a closer range allowed
the viewer to contemplate moral lessons from an inspired sense of wonder and awe, meditating
upon the illustrious beauty which drew the gaze ever upward towards God. The upward
movement was intended as an invitation to prayer and at the same time was itself an allegory for
the ascension of the soul. Thus the Gothic cathedral intended to express in its architectural
formation the soul's longing for absolution. Every part of its interior was intended to inspire the
soul in a richly multisensory manner.
Abbot Suger of St. Denis wrote significant treatises about the restoration and
reconstruction of St. Denis Abbey, which is considered to be one of the first examples of Gothic
architecture. His writings give invaluable insight into the experience that the cathedral would
have provided in its prime when it contained all of the artifacts, sculptures, ornate decoration and
daunting height as they were intended to be seen. Through its soaring space reaching skyward,
bathed in light flooding through large stained glass windows, the multifarious wealth of
precious gems, hyacinths, rubies, sapphires, emeralds and topazes (p. 147.) placed around the
altar, the cathedral in its magnificence served to detach the individual from the menial
surroundings of the world in order to reflect upon the immortal beauty in the truth of God. When
the virtuous individual takes the impression of majesty reflected in the cathedral and directs his
worthy meditation upon the nobility of God it is possible to move beyond the material
interpretation of an object, as Suger describes: the dull mind rises in truth and, in seeing this
light, is resurrected from its former submersion (p. 146).
The all-encompassing experience of the Gothic cathedral illuminates the divine through
the catalyst of sensory experience, and in a paradoxical manner, allows the individual to meditate

upon the immutability of the divine through a complete sensory immersion in material
surroundings. The incredible masterpieces of art created in Europe during the Middle Ages
cannot be understood without examining the religious beliefs which inspired them. From the
medieval monastery, to the illustrious texts of the scriptorium, to the solidity of the Romanesque
and the ascension of the Gothic, worthy meditation upon the material can indeed be used as a
catalyst. The examination of the material can transmit the mind to reflect upon the illustrious,
divine beauty held beyond the material means used to conceive of it.