Disclosure, rather than concealment, was a principle of Gothic design. This was demonstrated long ago by Pugin, and many of his followers pushed the doctrine to such extremes, that they held—and some of them still hold—that no building is really Gothic in which any part, either of its construction or arrangement, is not obviously visible inside and out.
This is, however, carrying the principle too far. It is sufficient to say that the interior disposition of every Gothic building was as much as possible disclosed by the exterior. Thus, in a secular building, where there is a large room, there usually was a large window; when a lofty apartment occurs, its roof was generally proportionately high; where a staircase rises, we usually can detect it by a sloping row of little windows following the line of the stair, or by a turret roof.
The mode in which the thrust of vaults is counterpoised is, as has been shown, frankly displayed by the Gothic architects, and as a rule, every portion of the structure is freely exhibited. It grows out of this, that when an ornamental feature is desired, it is not constructed purely for ornament, as the Romans added the columns and cornices of the orders to the outside of their massive walls purely as an architectural screen; but some requisite, of the building is taken and ornamented, and in some cases elaborated. Thus the belfry grew into the enormous bell tower; the tower roof grew into the spire; the extra weight required on flying buttresses grew into the ornamental pinnacle; and the window head grew into tracery.
There were, however, some exceptions. The walls were still constantly faced with finer masonry than in the heart, and though some are unwilling to admit the fact, were often plastered outside as well as in; and what is more remarkable, no other sign of the vault appeared outside the building than the buttresses required to sustain it.
The external gable conforms to the shape of the roof which covered the vault, but the vault, perhaps the most remarkable and characteristic feature of the whole building, does not betray its presence by any external line or mark corresponding to its position and shape in the interior of the building. Notwithstanding these and some other [!-- original location of Fig. 60 --] exceptions, frank disclosure must be reckoned one of the main principles of Gothic architecture.
Fig. 60.—Doorway from Church at Batalha. (Begun 1385.)
Elaboration and simplicity were both so well known to the Gothic architect that it is difficult to say that either of these qualities belongs exclusively to his work. But he was rarely simple when he had the opportunity of being elaborate, and simplicity was perhaps rather forced upon him by the circumstances under which he worked, by rude materials, scanty funds, and lack of skilled workmen, than freely chosen. Many of the great works of the Gothic period are as elaborate as they could be made (Fig. [60]), and yet, when simplicity had to be the order of the day, no architecture has lent it such a grace as Gothic.
The last pair of qualities is similarity and contrast. What has been said about repetition has anticipated the remarks called for by these qualities, so far as to point out that even where the arrangement of the building dictated the repetition of similar features, a general resemblance, and not an exact similarity, was considered sufficient. In the composition of masses of building, contrast and not similarity was the ruling principle. Even in the interiors of great churches which, as a rule, are far more regular than the exteriors, the contrast between the comparative plainness of the nave and the richness of the choir was an essential element of design.