Salisbury Cathedral was overwhelming, but in an unexpected sense. Where lots of churches (including other Gothic designs) make a statement through complication, excess, meticulous detail, and even opulence, Salisbury’s roar is quiet. It stands tall, but dresses simply. The exterior treatment holds a fair amount of detail and craftsman finesse, but the interior is restrained. The effect is immediately noticeable and powerful. With clean lines and surfaces, the height of the nave is able to soar uninterrupted. The church becomes about the light and space that is present, and there is little distraction from these ideas. The material qualities are also pulled forward, reinforcing the understanding that this is a built space for worship, a meeting place of the divine and the corporeal.
With the simplicity as a prevailing theme, there might be worry that the typical areas of extreme detail are relegated to uninspired utility, but that is not the case. Perhaps the best example is the collection of window patterns used in the Cathedral. They are regular and clean yet contain a richness of geometric legibility, as different shapes emerge from the tiling.
The sketches below highlight two of the fenestration patterns used in Salisbury Cathedral and are rendered orthographically to show the emergent shapes and tiling capabilities. By comparison, the window treatment of the altar glazing of St. Martin’s in the Fields utilizes a standard field condition with the introduction of variation to create a cruciform impression.
Salisbury Detail I
Salisbury Detail II
St. Martin’s Detail
I think the details of cathedras are what truly make them architectural masterpieces, typically. The massive spaces inside are often what stuns most people, but those with a design background can often pick out smaller details better and appreciate them more. Using smaller details like window treatments or the like can make all the difference in the feel of a building, but it will often go unappreciated. You point out the lack of detail in most parts of Salisbury, and I would agree that there isn’t much ornament. The immense size and height of the spaces inside cannot be ignored or at least pushed aside to focus on carvings snd detailings, so that ends up being center stage. The window details are fantastic, I would agree, but I think at least in the case of Salisbury, the sheer size and scale take away from that.