Canadian Historic Sites: Occasional Papers in Archaeology and History No. 25

Gothic Revival in Canadian Architecture

by Mathilde Brosseau

Illustrations and Legends

94 St. James-the-Less Chapel, St. James-the-Less Cemetery, Toronto, Ont. Constructed: 1857 Architect: Frederick Cumberland Material: stone It was certainly the prestige won by his St. James Cathedral commission that enabled Frederick Cumberland to obtain the commission for the funeral chapel in St. James Cemetery as well. Inspired by both the highly picturesque quality of the site and the new direction of the Gothic Revival style, Cumberland went into a more thorough exploration of the expressive possibilities of its repertoire of forms. The chapel is located on a slight rise, which it dominates with the upward thrust of its spire. In addition, the composition develops a certain tension in the treatment of the various elements of the plan: contrasts between very low walls and plunging roof slopes — between powerful, heavy, earthbound forms and other lighter, airier shapes — between the short, pyramidal base of the bell tower and the sweep of its spire — between the stocky tower flanked by a massive buttress and the open volume of the the porch. (Canadian Inventory of Historic Building.)

95 St. Peter's Anglican Church, Carlton Street, Toronto, Ont. Constructed: 1865 Architects: Henry Langley and Thomas Gundry Material: brick St. Peter's again reproduces the typical profile of the small 13th century medieval churches, the stepped bell turret on the front, the side porch and the chancel attached to the end of the nave. However, in the case of St. Peter's, the architects worked with the proportions with a view to creating visual effects, whereas they would probably have attached more importace to harmony and balance fifteen years earlier. The exterior design shows a desire to integrate the principle of polychromy: for certain strong points in the composition, such as the frontispiece, the angle buttresses and the façades on the small porches, the architects used a yellow brick in sharp contrast with the other red brick wall surfaces. On a smaller scale, these contrasts are reproduced over the windows and in the structure of the bell turret. Originally, the small front porch, which was much less salient than shown here, was more in keeping with the overall design; the small adjacent structures hiding part of the windows were also later additions. The need for expansion also led to the addition of transepts. (Photo: G. Kapelos.)

96 All Saints Anglican Church, 300 Dundas Street West, Whitby, Ont. Constructed: 1865-66 Architects: Henry Langley and Thomas Gundry Material: brick In terms of arrangement of forms, All Saints Church closely follows the requirements of the Cambridge Camden Society. In terms of decoration, particularly in the window design, it remains faithful to the formal repertoire of the 13th century. But an innovative effect is seen in the treatment of volume, which plays on the contrast between the wide triangle of the nave and the slenderness of the adjacent spire, and also in the use of a simplified form of polychromy indicating the assimilation of the ornamental principles cherished by Ruskin. (Canadian Inventory of Historic Building.)

97 First Baptist Church, 5 Pine Street, Brockville, Ont. Constructed: 1878 Material: stone A building like the Brockville Baptist Church places the observer in the presence of the sensitivity that animates the best works of the Victorian period. This church breaks with an architectural tradition that, for a long time, had favoured a compact building with proportions creating an effect of equilibrium and repose. Here, the basic volume splits into five distinct masses that nevertheless retain their unity through their interpenetration and plasticity. The split stone walls do not lend themselves to polychrome effects, but the gay coloured shingle effects of the roof contribute to the animation of the overall design. In order to give more vitality to the composition, the shape and arrangement of Gothic Revival motifs were varied from one mass to another, although care was taken to include reminders to reinforce the overall cohesion. The church is even more striking because of the key position it occupies on the courthouse square in Brockville, one of the most beautiful urban spaces in Ontario. (Canadian Inventory of Historic Building.)

98 First Presbyterian Church, 10 Church Street, Brockville, Ont. Constructed: 1878-79 Architect: J.P. Johnston Material: stone Although a less generous composition than that of the Baptist Church (Fig. 97), First Presbyterian Church also makes ample use of interpenetrating forms and texture and polychrome effects, and it also aims at a virtuosity of form that is particularly visible in the skyward sweep of the spire. (Canadian Inventory of Historic Building.)

99 United Church, Crown Hill, Ont. Constructed: ca. 1880 Material: brick The very simple scheme of this church perpetuates a tradition rooted in the vernacular architecture of the country from the beginning of the 19th century. However, various elements associate the building with the High Victorian Gothic: first, a raised basement giving a vertical thrust to the building and then the use of a brick colour contrast to highlight the bay details. (Canadian Inventory of Historic Building.)

100 Chapel of Notre-Dame du Sacré-Coeur, 69 Sainte-Ursule Street, Quebec, Que. Constructed: 1909-10 Architect: François-Xavier Berlinguet Material: stone The double tower principle is usually seen on large urban churches, but in this case it is applied to a chapel of rather modest dimensions. This may result from a desire to reproduce the characteristics of a prestigious church on a smaller scale. However, this basic inspiration must have been quite vague, since the choice and treatment of details are in no way exotic. On the other hand, the rigidity of the façade is characteristic of the architect François-Xavier Berlinguet, as it is found in several of his works. (Canadian Inventory of Historic Building.)

101 Saint Martin's Anglican Church, Saint-Urbain Street, Montreal, Que. Constructed: 1874 (demolished) Material: stone St. Martin's Church concurs with the Catholic churches of the region in the use of split stone, which was very widespread at that time. The general articulation is more in keeping with the contemporary taste for a vigorous, aggressive Neo-Gothic style in search of asymmetry and exuberant formal effects. The raised basement allowed for the installation of Sunday School classes — a common practice in Protestant churches at that time. (Canadian Illustrated News, "St. Martin's Church, Upper St. Urbain Street, Montreal," Vol. 13, No. 13 [April 8, 1876], p. 234.)

102 St. Paul's Anglican Church, 1 Church Street, Trinity, Nfld Constructed: ca. 1894 Material: wood St. Paul's Anglican Church is a modest rendition of the spirit of High Victorian Gothic forms. The theories of the Cambridge Camden Society still govern the arrangement of masses. However, the forms are slightly more aggressive in the relatively steep angle of the gables and the thrust of the spire. In addition, the building design is steeped in Maritime architectural effects such as the half-timbering features of certain ornamental boards on both the walls of the bell tower and on the chancel façade. These are ornamental effects found primarily on the wooden domestic buildings of Newfoundland toward the end of the 19th century. (Canadian Inventory of Historic Building.)

103 Catholic Church, Sturgeon, P.E.I. Constructed: 1888 Architect: William Critchlow Harris Material: stone Despite its Gothic fenestration, the Sturgeon Catholic Church bears the mark of a Romanesque influence. The sandstone walls are made up of very large blocks that decrease in size as they move upward; the surface treatment includes protuberances that contribute to a powerful, monumental impression. The simple, infrequent details are in keeping with the immobile quality of its masses. Despite an articulation that is typical of High Victorian Gothic churches combined with pointed fenestration, the Sturgeon church is more in keeping with the Neo-Romanesque spirit promoted by the American architect Henry Hobson Richardson, than the spirit of High Victorian Gothic. (Canadian Inventory of Historic Building.)

104 St. Dunstan's Catholic Basilica, 61 Great George Street, Charlottetown, P.E.I. Constructed: 1914-18 Architect: J.M. Hunter Material: stone The architect designed a stone church of imposing dimensions with a particular character resulting from the intricate composition of the façade dominated by two towers. A forest of pinnacles grows out of the façade and towers, producing an effect that is reminiscent of the profuse treatment of the famous cathedral of Milan. The pinnacles and the highly intricate window tracery indicate an inspiration drawn from a late Gothic phase — Flamboyant Gothic. Built at a time when a taste for monumentalism and simplicity of volumes was already developing, the Charlottetown Basilica remains faithful to a picturesque approach derived from the end of the 19th century. (Canadian Inventory of Historic Building.)

105 St. Paul's Anglican Cathedral, 1 McIntyre Street, Regina, Sask. Constructed: 1895 Architect: Frank H. Peters Material: stone and brick St. Paul's Cathedral has a modest, austere appearance resulting from its dimensions, its arrangement of forms and its architectural ornamentation. The building is built on fieldstone foundations that create a pleasing contrast with the red brick walls. The proportions amplify the roof to a considerable extent and the plain volume of the roof harmonizes well with that of the sturdy tower. To meet the needs of a rapidly growing parish, the church vestry decided to place the construction of the transepts and chancel in the hands of architect W.R. Riley in 1905. He integrated them perfectly with the original design. (Canadian Inventory of Historic Building.)

106 St. Giles United Church, 289 Burrows Street, Winnipeg, Man. Constructed: 1907 Material: brick This church stresses an asymmetrical arrangement of forms, but it lacks the inventive freedom and taste for daring contrasts of form that animate the most successful High Victorian Gothic compositions. The composition of St. Giles Church is faithful only to the letter of the style, not its spirit. (Canadian Inventory of Historic Building.)

107 St. John the Divine Church, 1611 Quadra Street, Victoria, B.C. Constructed: 1910 Material: brick It is difficult to draw a chronological line between works belonging to the formal approach of the High Victorian Gothic style and those influenced by the Ecole des Beaux-Arts in Paris. A few buildings affected by the academic tradition of the Ecole des Beaux-Arts appear during the first decade of the 20th century, but others such as St. John the Divine church continue to show the influence of High Victorian Gothic forms. The designer of this church continues to stress vertical proportions, relatively rich ornamentation and highlighting with grey stone polychrome accents against a red brick background. (Canadian Inventory of Historic Building.)

108 St. Andrew's Cathedral, Blanshard Street, Victoria, B.C. Constructed: 1892 Architects: Maurice Perrault and Albert Mesnard Material: brick On first sight, it is surprising to find that the commission for this large church in Victoria was awarded to a Montreal architectural firm. However, this is explained by the reputation of Perrault and Mesnard in religious architecture. For St. Andrew's Cathedral, the architects remained faithful to the double tower principle, but they gave it more picturesque effects than those of most churches of this type in Quebec. The composition is asymmetrical in the treatment of its towers, of which only one has the vertical sweep that is so characteristic of High Victorian Gothic. In addition, there is another visual variant in the treatment of the outer walls. The principle of construction polychromy is present in the form of grey stone stringcourses inserted in the brick masonry; textural effects are also seen in the beehive designs worked into various points in the wall surfaces and providing a contrast with the rhythm of the roof tiles on the two bell towers. (Canadian Inventory of Historic Building.)

109 836 Rosser Avenue, Brandon, Man. Constructed: ca. 1910 Material: brick Although this building very probably dates back to the first decade of the 20th century, it still shows the taste for fanciful forms found in late 19th century architecture. The upper stories are punctuated by pilasters that are partially covered on the second storey by Neo-Gothic windows with something of an oriental influence in the curves of their openings. On the third storey, the Gothic Revival touches give way to windows with a maximum of glass surface. However, the graceful tracery of the bay window in the centre provides an interesting counterpoint with the two wide Neo-Gothic windows on the second storey. (Canadian Inventory of Historic Building.)

110 James Brennan Stores, Saint-Jean Street, Montreal, Que. Architects: Hopkins, Lawford and Nelson (as attributed by the Quebec National Archives) Material: brick and cast-iron The articulation of this building divides it into three horizontal registers. The problem of adapting the fenestration to the Gothic Revival style was solved by surmounting the rectangular windows with a sort of blind arch containing decorative tracery based on a trefoil motif. In addition, the wall surfaces between the windows are highlighted by a series of pilasters that receive the springings of the broken arches over the windows. This project had the merit of blending the building into a cityscape of older commercial buildings while providing the eye with a Neo-Gothic "disguise" that was quite acceptable to contemporary tastes. (P. Bédard, N. Cloutier and A. Giroux, "Inventaire des plans architecturaux des Archives civiles du Québec à Montréal," History and Archaeology/Histoire et archéologie, No. 4, Vol. b [1976], p. 99.)

111 Equity Chambers, Adelaide and Victoria Streets, Toronto, Ont. Constructed: ca. 1878 (demolished) Material: brick The Equity Chambers office building took maximum advantage of picturesque possibilities; the eye of the observer was immediately drawn by the lively silhouette of the building and the corner tower and a roofline broken up by high ornamental gables. In the walls, this animation took the form of varied window arrangements interrupted at irregular intervals by buttresses running from top to bottom of the building. The wall surface treatment adhered faithfully to the principle of construction polychromy advanced by Ruskin. Coloured materials traced out geometric and trefoil patterns that were highly reminiscent of the visual effects on Venetian Gothic palaces. The windows, particularly those of the second floor, illustrate this analogy; they had broken arches without frames and were separated by small columns topped with delicate capitals. (Public Archives Canada.)

112 All Saints Anglican Church, 5732 College Street, Halifax, N.S. Constructed: 1906 Architects: Ralph Cram and Bertram Goodhue Material: stone This church was built with stone from the Halifax region and complied with the final design except for the tower, for which only the base was built. With a view to creating an impression of order, monumentalism and grandeur in accordance with the tradition of the Ecole des Beaux-Arts, the architects chose the formal repertoire of the late Gothic period, the Perpendicular Gothic of the 15th century; thus the use of broad windows with highly visible ornamental tracery. Contrary to the High Victorian Gothic spirit, the outline of forms is simple and the emphasis is placed on an impression of calm regularity, which is enhanced by the horizontality of the composition. (Montgomery Schuyler, "The Works of Cram, Goodhue and Ferguson, a Record of the Firms most Representative Structures 1892-1910," Architectural Record, Vol. 29, No. 1 [Jan. 1911], p. 18.)

113 Project for St. Alban the Martyr Anglican Cathedral, 100 Howlands Avenue, Toronto, Ont. Design: 1911 Architects: Cram, Goodhue and Ferguson Material: stone If this design for St. Alban's Cathedral had been built as planned, it would have been one of the very first appearances of a new vision of the Gothic repertoire in Toronto religious architecture. This illustration of the exterior reveals a particular insistence on simplicity of form and a powerful visual effect. This imposing smooth stone edifice encompasses the various components of the plan (nave, aisles, transept and chancel) in a geometric spatial arrangement leaving the horizontal limits of the various roofs open to view. Emphasis is no longer placed on the richness or picturesque effect of details or on bold formal relationships, but rather on a highly organized spatial arrangement combined with a preference for solemnity and repose in the forms. The designers did not make any attempt at archaeological accuracy and chose to draw free inspiration from medieval prototypes in order to convey their own perception of forms. In this respect, the author of an article on the Cram and Goodhue composition made the following observation: "An effort has been made to epitomize the architectural impulse of the early Middle Ages to reduce this to its simplest and most fundamental terms, and then to vitalize the whole by the spirit of the twentieth century." (Construction, "Cathedral of St. Alban the Martyr, Toronto, Architects: Cram, Goodhue and Ferguson," Vol. 6, No. 1 [Jan. 1912], p. 50-58.)

114 First Presbyterian Church, 3666 Jeanne Mance Street, Montreal, Que. Constructed: 1914 Architects: Hutchison, Wood and Miller Material: stone Despite an asymmetrical façade derived from a style of articulation that was very popular during the High Victorian Gothic period, this church represents a considerable departure from the perception of forms proper to that period in the evolution of the Gothic Revival style. As opposed to the tension effect of High Victorian Gothic churches, this church has a grandiose, solemn arrangement. The articulation of volume is almost entirely based on pure, geometric forms. Apart from the simple outline of the bays and the presence of a few ornamental panels, archaeological motifs have almost disappeared from the wall surface leaving large expanses of masonry untouched to emphasize the simplicity and power of the design. The interior is arranged according to an auditorium plan, which had regained favour since the end of the 19th century, particularly in Presbyterian churches. (Photo: M. Brosseau.)

115 First Baptist Church, 969 Burrard Street, Vancouver, B.C. Constructed: 1910-11 Architects: Burke, Horwood and White Material: stone This church was one of the first to introduce the Gothic Revival in the Beaux-Arts manner to the city of Vancouver. Its design is an arrangement of simple volumes that anchor the building to the ground by the visual power of their mass alone. The taste for varied visual effects found in the composition of High Victorian Gothic churches gives way to a desire for monumentalism and grandeur. The simplicity (or even monotony) of the decor is apparently one of the means used by the architect to obtain a more solemn effect. (Canadian Inventory of Historic Building.)

116 Hart House, University of Toronto campus, Toronto, Ont. Constructed: 1911-19 Architects: Sproatt and Rolph Material: stone From the very first stages of the project, an intense collaboration sprang up between the client, Vincent Massey, and the Sproatt and Rolph firm. All three agreed on the choice of the Gothic repertoire in both symbolic and practical terms thus permitting the harmonious additions to the original plan, In this respect, Sproatt made the following remark: "Collegiate Gothic is the one architecture developed for scholastic work. It is a success and a joy. Why throw it away?" Partly as a result of the discipline of the Ecole des Beaux-Arts tradition, the architects were able to make a logical distribution of the various activities in four wings surrounding a courtyard. The overall design acquires a high degree of stylistic unity through the calm, monumental impression it creates. There are several contributing factors: the stress placed on masses rather than silhouettes, the horizontal lines and the reduction of picturesque motifs to a minimum. (Photo: G. Kapelos.)

117 Chemistry Building, University of Saskatchewan, Saskatoon, Sask. Constructed: ca. 1920 Architects: David K. Brown and Hugh Valiance Material: stone The chemistry building is part of a second group of edifices built during the 1920s. It is a good illustration of the stylistic effect the firm gave to all the buildings on the campus. The Gothic Revival version according to the principles of the Ecole des Beaux-Arts is immediately identifiable. The yellow sandstone building is made up of a main body flanked by two wings angled back from the central mass. This perfectly symmetrical arrangement is made up of very simple volumes that enhance the horizontality of the composition. A few Gothic elements such as the Elizabethan gables, a few pointed bays and a series of multiple mullion windows drawn from Tudor manors are superimposed on this scheme. (David Brown "The University of Saskatchewan, Saskatoon," Journal of the Royal Architectural Institute of Canada, Vol. 1, No. 4 [Oct.-Dec. 1924], p. 109-13.)

118 Institute of Technology and Art, Calgary, Alta Constructed: 1922 Architect: Richard P. Blackley Material: brick The Institute of Technology and Art in Calgary is highly representative of the general appearance of many schools built during the second and third decades of the 20th century by the Departments of Education of the various Canadian provinces. The building has a rectangular form that has been extended further and further in either direction; its plan now has only a relatively standardized distribution of functions on either side of a stately vestibule. There are ornamental features on the exterior and it retains a vague medieval inspiration that is lacking in vitality, being limited to crenelations and a pointed arch marking the entrance. (Construction, "Institute of Technology and Art, Calgary, Alberta, Architect: Richard P. Blackley," Vol. 15, No. 11 [Nov. 1922], p. 336.)

119 The Manitoba School for the Deaf, 500 Shaftesbury Blvd., Winnipeg, Man. Constructed: ca. 1920 Architect: John D. Atchison Material: stone When this building was opened in the early 1920s, it was used as a school and residence for more than 200 young deaf mutes from the three Prairie Provinces. The general plan, designed according to the hierarchy propounded by the Ecole des Beaux-Arts, distributes the various functions of the edifice in an H-shaped scheme. This photograph shows the main body dominated by a square tower erected in memory of the school's founder. This is the most prestigious section, which was designed to house the administrative offices (to the left) and the chapel, which is identified from the exterior by the series of buttresses. The decorative repertoire is made up of typical Tudor features (multiple mullion windows, bay windows and parapet gables), working them into a composition that gives priority to a national spatial organization. (Construction, "Manitoba School for the Deaf, Winnipeg, Architect: J.D. Atchison," Vol. 16, No. 6 [June 1923], p. 193.)

120 The Second Government House, Wellington Street, Ottawa, Ont. Constructed: 1916-19 Architects: John Pearson and Omer Marchand Material: stone The parliamentary committee in charge of the reconstruction of this building stipulated that the new seat of Parliament should be in the greatest possible compliance with the appearance of the original composition, both in terms of masses and the choice of decorative motifs and materials. Because of increased requirements, it was decided to add a storey to the building and make a few alterations in the plan. The photograph clearly shows that despite a similar articulation, the general character of the design has been considerably modified. The strength and energy of the picturesque forms of the first building give way to an abstract touch that primarily stresses the highlighting of a strict articulation of masses. In this context, the Gothic motifs acquire a greater symbolic value. The new atmosphere of this composition owes much to the influence of the Ecole des Beaux-Arts. Omer Marchand was one of the first Canadian architects to demonstrate skill in the Beaux-Arts manner as a result of a prolonged training period in the famous Redon and Laloux shop in Paris. (Canadian Inventory of Historic Building.)

121 Park Building, 3414-3418 Park Avenue, Montreal, Que. Material: stone (façade), brick (other sides), cast-iron (ground floor) Here we see the Gothic Revival style in the Beaux-Arts manner applied to the façade of a commercial building. On the ground floor, broad windows are outlined by a pointed arcade. The two upper stories are regularized by fenestration based on the arch and spandrel system. The cornice of the building boldly combines a border of geometric patterns with gargoyles that appear to look down on passersby. This façade is executed in smooth, nearly white stone as recommended by Beaux-Arts teachings. (Photo: M. Brosseau.)

122 Glengrove or Ainsley House, 100 Glen Grove Street West, Toronto, Ont. Constructed: 1909 (demolished) Architect: George W. Gouinlock Material: stone The archaeological source of this composition is recognized at once: the Tudor period in England. This is indicated by the pseudo-fortress appearance created by a sharply crenelated roofline, a main tower with tall ornamental chimneys and windows broken up by multiple mullions. The architect opted for the highly stylized aspect of a composition based on the teachings of the Ecole des Beaux-Arts; thus the treatment of the nearly white stone provides a very smooth surface in keeping with the highly geometric character of the masses. In the final analysis, it is probably the combination of the formal "signs" of a medieval architecture and the academic handling of forms and materials that give an impression of strangeness before a building like Ainsley House. (Construction, "Residential Structure in 'Tudor' Design," Vol. 2, No. 9 [Sept. 1909], p. 51.)

123 Brenchley House, 3351 Granville Street, Vancouver, B.C. Constructed: 1912 Architects: Samuel Maclure and Cecil Fox Material: wood and stucco This house is one of the most well-known examples of the Tudor house for which the architect Samuel Maclure was renowned in both Victoria and Vancouver. Like all buildings of this type, the house retains from the Tudor period only the half-timbered effect produced by strips of wood alternating with white stucco rectangular surfaces. (Canadian Inventory of Historic Building.)

124 116 Roslyn Road, Winnipeg, Man. Constructed: 1909 Architect: John D. Atchison Materials: stone, brick, cement and wood This is one of the many examples of houses derived from the half-timbered structures of the Tudor period that were built in Canada during the first decades of the 20th century. Needless to say, the structural realism of the old half-timbered houses has been abandoned and the architects retain only the rhythmic effect created by the beams. This house combines a brick-faced ground floor with a second storey covered with cement stucco and broad planks (no longer beams) which have been fastened to battens before the stucco is applied. The anachronism of this composition is indirectly expressed by the author of an article on the construction of this house, who describes it as "a recent example of the English half-timbered house built according to modern methods of construction"! (Canadian Inventory of Historic Building.)