How to be goth at church

A Christian’s viewpoint on the Gothic / Emo movement should be avoidance of the culture’s dark attitudes while still loving those involved in it. Yes, there are definitely certain aspects of the Gothic and Emo subcultures that are incompatible with Christianity, but no more so than similar aspects of mainstream society. These particular communities identify themselves with artistic darkness—darker clothing, darker writing, darker music. In fact, both Goth and Emo originally (and presently) referred to specific music genres with punk roots before they were considered personal styles.

While it may seem that all Goths or Emos share the same level of devotion to darkness, each individual will have his or her own preferences about which aspects he or she chooses to partake in. What is important to understand is that, for most Goths / Emos, it is a “dark” aesthetic they subscribe to, not necessarily darkness as it relates to evil. Wearing black clothing is not inherently sinful. Enjoying art that emphasizes black is not inherently sinful. There is nothing evil about the color black. The Gothic / Emo subculture is no more inherently wicked or wrong than any other subculture. Condemnation of Gothic / Emo adherents is usually brought on by a knee-jerk reaction to their uncommon appearance, but that condemnation is a sin (John 3:17). As followers of Christ, we need to be beyond that (John 7:24). Like all of us, they are people who desperately need Christ in their lives. Every human being is on an equal level of sin as far as God is concerned (Romans 3:23), and being a part of the Goth or Emo subculture makes no difference in terms of eternal security.

Can Goths or Emos come to faith in Christ and still involve themselves in a dark aesthetic? If they are glorifying Christ in what they do, yes (1 Corinthians 10:31). We cannot impose our own spiritual maturity, personal convictions, or style choices on another person—no matter how strange they may seem to us. Let the Christian Goth / Emo wrestle with his/her ideologies as God brings them out for scrutiny. What we can do is provide support, counsel, and love as the Holy Spirit guides us in our relationships (John 16:13).

Conforming to the image of Christ does not mean you must stop wearing black and dress like every other upper-middle class American / Western European. That has nothing to do with Christianity. It does mean, though, that a Goth’s or Emo’s mindset and dark attitudes will undergo a change, even if the black clothes and attraction to darkness might remain to a certain extent. It is the heart that God searches (1 Chronicles 28:9), thus the heart is what we must first look at ourselves, whether it be among Goths, Emos, punks, gamers, jocks, etc.

How to be goth at church

Most of my customers already have molds with enough basic blocks and didn’t want me to use up valuable space on this mold for more of the same. If this is your first model, you will need to buy one of the molds listed above.

For complete instructions on pouring the blocks, see the Casting Instructions Page. Below are a few tips to help you with the Gothic Church mold.

The gothic church has lots of small ornate pieces. When casting these pieces, the following tips will help you eliminate air bubbles.

The easiest way to get rid of air bubbles is to use the Wet Water method. If you use this method, then the other tips shown here aren’t needed.

If you can’t use the “wet water” method, then try to pour the smallest pieces first. When pouring plaster into small pieces with deep recesses, flex the mold to stretch out the area. This will leave fewer narrow crevices to form air bubbles.

Also, after you pour the plaster in, use a toothpick or dull pencil and trace around the shape to release air bubbles. Mixing the plaster slightly thinner will also help. Be sure to tap the mold often to release air bubbles.

If small defects occur, don’t worry; real stone buildings also have defects. Besides, when you put the whole building together you’ll be so impressed with the result that you won’t be able to find them anyway!

Mold #54 does not contain all of the blocks to build this church. You will need 131 extra regular blocks and 54 extra square blocks. To make this model, fill the church mold 12 times and fill mold #40 (regular block mold) 12 times.

Be sure the blocks are completely dry before gluing them together. For detailed instructions on pouring the blocks, see the Casting Instructions Page.

Using a hobby knife, trim off the excess. Using the point of the knife, chip away at the flat surface to texture it.

Lay the blocks down on the plan to make sure they all fit together nicely. You may have to lightly sand a block or two. Glue the blocks together but don’t glue them to the paper!

Assemble the decorative braces and glue them to the wall.

Use a piece of sandpaper to bevel the edge at a 45 degree angle. Glue the smooth trim along the roofline.

By the way, don’t glue them together at this point! We still have to paint the model, which is much easier to do in individual sections.

For information on types of paint and supplies you will need, refer to the Painting Instructions.

For the gothic church I wanted to match a stone color found on actual churches and cathedrals. I looked through several books until I found the color I liked which was a gray-brown with a little tan added.

To mix the color, I used half straight gray (mixture of black & white) and half brown. The lighter colors were light gray mixed with tan (about half and half). For an exact recipe of what I use, look at the Earth Tone Painting Instructions.

The first coat of paint is the darkest color. Be sure to mix this first coat thin (about the consistency of milk). If you’re using house paint, it’s about 1 cup paint to 1/4 cup water. If you’re using a tube of paint, add more water.

Brush over the surface with a light to medium pressure. This is called dry-brushing. The paint will stick to the highlights of the stone and all of the texture will show up. It works the best if you have almost no paint in the brush and use more strokes to cover the area.

Cut out a large section of cereal box. Draw a grid on it using 1/2″ spaced horizontal lines, and 3/8″ spaced vertical lines. The larger you draw your grid, the larger the shingles will be (and the less work it takes). I’m using a small grid because it’s more in scale with the church.

How to be goth at church

Aesthetically ornate and conceptually transcendent, the Gothic style has become one of world’s most distinctive architectural movements. Though it originated in the Middle Ages, the one-of-a-kind genre continues to captivate today, as evident in some of Europe’s most beautiful buildings.

While the Gothic approach appears to be a novel form of architecture, its signature style has been shaped by different influences. Here, we explore the genre, looking closely at its rich history, defining features, and most well-known examples.

What is Gothic Architecture?

Gothic architecture is a European style of architecture that values height and exhibits an intricate and delicate aesthetic. Though its roots are French, the Gothic approach can be found in churches, cathedrals, and other similar buildings in Europe and beyond.


During the Middle Ages, a new style of architecture emerged in Europe. Initially referred to as Opus Francigenum , or “French Work,” this architectural genre dominated European tastes—namely, that of the Roman Catholic Church—until the 16th century, when it became known as “Gothic.”

The Gothic style evolved from Romanesque architecture, a medieval aesthetic characterized by arches, vaulted ceilings, and small stained glass windows.

How to be goth at church

How to be goth at church

Leon Cathedral (Photo: Adrian Farwell [CC BY 3.0], via Wikimedia Commons)

Steampunk is a sub-genre of Goth. It is a mix of Victorian and Edwardian aesthetics combined with modern technology. It is a re-invented future or a past that never happened. In many ways society has taken a nose-dive since the Victorian era and some would even go so far as to say we have been living in a New Dark Ages ever since. Science has done a lot for us over the past century, including creating the internet and enabling me to publish this website. However, the scientific view of humans as soulless bio-machines hasn’t necessarily been of great benefit to the way we treat each other and it can cultivate a “who cares what I do mentality”. Steampunks are trying to pretend that whilst technology has progressed, aesthetics and morality have remained unchanged.

Imagine a society with highly developed technology that evolved slightly different to how society actually did. A society that kept steam and the the pride of creating beautiful, well-made, long-lasting things that were used in every day life from machines to fashion. People of this society enjoy their technology and take great pride in everything that they make. Imagine a world without plastic and with people who actually enjoy learning and creating! Too bad society didn’t turn out this way, but perhaps Steampunks can turn it around. Steampunks and Goths would be considered to be weird geeks by many people of today who don’t question society’s throw-away mentality.

Emo is modern punk with a dark fashion sense. Bands such as Green Day, Blink 182, My Chemical Romance, Fall Out Boy and Weezer are Emo. It is pop-punk and has nothing to do with Goth besides having a dark fashion sense.

That’s a good question. Everything and nothing. Everyone says that Goth evolved from Punk in the 70s. Why might that be? The popularity of Punk started waning probably around the late 70s and a few Punk bands dissolved and formed new bands with new looks and a dark theatrical rock sound. The music was different but the band members had a Punk background. Imagine someone who is in a Jazz band who leaves that band and joins a Country band….would you then call the Country band Jazz? Of course you wouldn’t. That being said, some of these new bands were labelled Positive Punks (Posi-Punk).

Punk had a rebellious anti-conformist attitude towards society and therefore the word Punk become synonymous with rebellion. Goths and Steampunks do not so much rebel against society but sort of ignore it and have formed their own society. Yet, they are influenced by modern society in an artistic sense in that the art, music and fashion of the Goth culture reflects the horrors of modern society. So punks might have reacted to society with anger and violence while Goths will peacefully paint you a picture to show you what they think of society.

How to be goth at church

Musicians who initially shaped the aesthetics and musical conventions of gothic rock include Marc Bolan, the Velvet Underground, the Doors, David Bowie, Brian Eno, Iggy Pop and the Sex Pistols. Journalist Kurt Loder wrote that the song “All Tomorrow’s Parties” by the Velvet Underground is a “mesmerizing gothic-rock masterpiece”.

Critic John Stickney used the term “gothic rock” to describe the music of the Doors in October 1967, in a review published in The Williams Record. Stickney wrote that the band met the journalists “in the gloomy vaulted wine cellar of the Delmonico hotel, the perfect room to honor the gothic rock of the Doors”.

Nico’s 1969 album The Marble Index is sometimes described as “the first Goth album”. With its stark sound, somber lyrics, and Nico’s deliberate change in her look, the album became a crucial music and visual prototype for the gothic rock movement.

Black Sabbath’s 1969 debut album created a dark sound different from other bands at the time and has been called the first ever “Goth-rock” record (Baddeley 2002: 264).

In the late 1970s, the word “gothic” was used to describe the atmosphere of post-punk bands like Siouxsie and the Banshees, Magazine and Joy Division. In a live review about a Siouxsie and the Banshees’ concert in July 1978, critic Nick Kent wrote that concerning their performance, “parallels and comparisons can now be drawn with gothic rock architects like the Doors and, certainly, early Velvet Underground”.

With the birth of this new music came the birth of a new fashion that was borrowed from the punk look and given a darker edge. But Goth fashion hasn’t just borrowed from the Punks. There are many different styles influenced by fashions of earlier eras. but you can read more about that on the fashion page. But this was just the birth of modern Goth music and fashion and not what Goth is. After all Goth is just beauty that is found in the darker things in life. Dark music has been around since music began and so have people who have found beauty in darkness. Who can honestly say that Carl Orff’s O Fortuna, which is often mistakenly called Carmina Burana (circa 1935) and the poem Gloomy Sunday that was originally written by the Hungarian László Jávor and made famous by the singer Billie Holliday are not everything that Goth is? The songs of Hildegard of Bingen (born 1098) are very similar sounding to some contemporary Goth songs by the band This Ascension and even Qntal. As for early Goth people, how about Edgar Allan Poe, Charles Addams, Edward Gorey and perhaps even the virgin Queen Elizabeth I? The Goth band Faith and the Muse have brought one of Elizabeth’s songs to life in the song entitled “Importune Me No More”. Her father Henry VIII also wrote the very haunting song “Greensleeves”. Lorenna McKennitt sings a nice version of this song. So Goth has always existed but the music, fashion and people weren’t labelled Goth until about the late 60s.

Most Goths have heard of the The Batcave but what exactly was it why is it such a big deal to the Gothic subculture? The Batcave was essentially the womb for the contemporary Goth subculture which gave birth to a new fashion and music scene. It was a nightclub that was opened by lead singer Ollie Wisdom and his band Specimen in Soho, London in 1982. It wasn’t intended to be “Goth” as such but that’s the way it turned out and it essentially became the first Goth club. Read more about The Batcave

How to be goth at church

There are two different types of churches, organizationally.

Static and dynamic.

As we saw in a previous article, Why Most Small Churches Don’t Use (Or Need) An Organizational Chart, the smaller the church, the less necessary it is to use a static organizational system.

Static churches have a thorough Org Chart, with positions that need to be filled, and each position is arranged in some sort of hierarchy. Everyone knows what they’re supposed to do and who reports to whom based on the Org Chart.

Some statically–organized churches have a physical chart on display, while others operate by an unseen, but just as strongly defined system.

There’s nothing inherently wrong with having and/or using an Org Chart. In fact, the bigger the church, the more essential it becomes. When you’re trying to coordinate dozens, even hundreds of leadership positions, the Org Chart reduces chaos and helps create stability.

But if you’re pastoring a small church and you want to move from static to dynamic, how do you do that?

Here are 5 starter steps:

1. Understand and explain the differences between static and dynamic churches

If static churches use an Org Chart to define what people do, a dynamically-organized church will change what they do based on the people they have.

This is especially true in smaller congregations because in a small church the arrival or departure of one person or family can change your ability and/or need for entire ministry departments.

If you want to move toward a dynamic organizational style, or simply remove the vestiges of a static system, the key leaders in the church need to understand these differences and why moving to a dynamic style is a smart move for your church.

2. Understand and explain the organizational differences between big and small churches

In a lot of small churches, the argument against switching to a dynamic organizational style will often be “but such-and-such a church does it this way.”

It’s important for church leaders to understand that “such-and-such church” does it that way because they’re larger, while smaller churches have different needs, benefits and methods.

3. Ask “what can we do well?” not “what have we always done?”

Pastors of dynamically-organized churches have to be great listeners. We have to hear, understand and sympathize with the needs of our church members. And we need to know them well enough to know how to utilize and combine their talents and spiritual gifts.

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The views of the blogger do not necessarily reflect those of Christianity Today.

Researching the characteristics of gothic architecture? Well, the gothic style transformed castles, churches, cathedrals and pretty much the whole of Europe!

This form of architecture developed because of common architectural problems in Medieval times.

Back in the 1100s-1200s, building skills were extremely limited. Stone castles and cathedrals were rudimentary – dark, cold, and damp.

Gothic architecture tried to solve some of these unpleasant problems, and created light, pleasant and airy buildings. Before the gothic, architecture was functional. Now, architecture became beautiful.

This menacing gargoyle I discovered in Munich is a great example of gothic architecture. Why build a simple rain-gutter, when you could turn it into a monster?!

How to be goth at church

Screaming gargoyle, Munich town hall

Some gothic buildings – particularly churches and cathedrals, such as York Minster, in York, England (the largest gothic cathedral in Northern Europe) – were rendered into awe-inspiring places of piety and worship, as a result of their phenomenal gothic design.

Many castles adopted some of the characteristics of gothic architecture, too. They became transformed from dank living environments into majestic, light and pleasant residences for the lords and ladies within.

An aside! ‘Gothic architecture’ is a retrospective term. Medieval people would never have used it.

Back in Medieval times, this form of building was called ‘the modern style’. More on the history of gothic architecture is contained later in this article.

The Seven Key Characteristics of Gothic Architecture

1. Grand, Tall Designs, Which Swept Upwards With Height and Grace

How to be goth at church

The magnificent gothic exterior of York Minster in the UK. Credit: M Poudal CC-BY-2.0

In the times before gothic architecture, Early Medieval architects struggled to spread the weight of heavy stone walls.

This meant that towers needed to be short and buildings thin. Otherwise, the sheer weight of the high floors would make the building collapse into itself.

One of the fundamental characteristics of gothic architecture was its height. New building techniques (such as the flying buttress, detailed below) enabled architects to spread the weight of taller walls and loftier towers.

This all meant that gothic buildings could, quite literally, scale new heights. It allowed them to reach up to the heavens – perfect for cathedrals and churches.

The cathedral pictured above is York Minster – one of the many attractions of York, UK.

How to be goth at church

This is the famous Dom – or cathedral – of Cologne. It’s an amazing example of the Gothic style.

You’ll see that I’ve scattered photos of the Cologne Dom (Cathedral) throughout this page – see the pic just above. It’s one of the most visited tourist attractions in Germany, and miraculously survived the bombings of World War II.

It’s a phenomenal example of gothic architecture, exhibiting all seven characteristics of this amazing design style.

2. The Flying Buttress

How to be goth at church

These flying buttresses are a feature of gothic architecture. They’re part of the St Vitus Cathedral in Prague Castle. Credit: Patrick Gonzales CC-BY-SA-2.0

The flying buttress is the defining external characteristic of gothic architecture. These buttresses act to spread the weight of the tall walls. They support the structure by transferring force directly to the ground.

The flying buttress was not just practical, though. It was also decorative.

Flying buttresses were often elaborately designed. They appeared to dart and sweep around each building, giving a sense of movement and of flight. They were often decorated with intricate carvings, giving a sense of grandeur and importance.

3. The Pointed Arch

How to be goth at church

A modern example of the characteristic pointed arch. Credit: J Brew CC-BY-SA-2.0

The innovation of the pointed arch was another key characteristic of gothic architecture. Again, its significance was both practical and decorative.

The pointed arch is a sturdy little design. Its form distributed the force of heavier ceilings and bulky wall. It could support much more weight than previous, simple, spindly pillars.

The stronger arches allowed for much more vertical height, too – they literally reached up to the heavens.

The gothic arch wasn’t just a workhorse. It had an aesthetic value and beauty which influenced many other features of gothic design – most notably the vaulted ceiling.

Malbork Castle, in Poland, has some excellent examples of pointed ceilings.

4. The Vaulted Ceiling

The vaulted ceiling was an innovation which lead on from the achievements of the pointed arch.

How to be goth at church

The delicate vaulted ceilings of Malbork Castle in Poland. These ceilings are another feature of gothic architecture. Credit: Alexander Baxevanis CC-BY-2.0

Irregular, vaulted ceilings utilised the technology of the pointed arch to spread force and weight from upper floors.

These sturdy supports allowed ceilings to be taller than before. (Although note that the ceiling height isn’t uniform). This provided the impression of height, grandeur and elegance.

The distribution of force within the vaulted ceiling enabled vaults to be built in different shapes and sizes. Previously, vaults could only have been small, and circular or rectangular.

A professional dancer goes back to school to transition into a new career

VIS18 Assignment 2: Essay

How does the design of Gothic cathedrals incorporate light, and why? Analyse two to four examples in depth to support your argument.Shin

The quest for light was the force that drove cathedral architecture into the Gothic era. The philosophical ideologies of the time connected God with light, and architects began to research ways to reflect this connection when building cathedrals. The abbey church of St-Denis is considered to be the first Gothic structure to incorporate these new methods to maximize interior light. To take these ideas even further, the Notre-Dame de Paris was one of the earliest cathedrals to use external flying buttresses to create a structure rich in window space. Light is also used in Gothic architecture to portray narrative, as demonstrated in the stained glass window art in the Chartres Cathedral. This essay argues that the importance of light in the architecture of Gothic cathedrals was born of a desire to fuse physical and metaphysical ideas, creating sacred spaces for connecting the physical self with the spiritual.

The growing importance of light in cathedral architecture in the twelfth and thirteenth century has been argued to directly correlate with the philosophical ideologies of the time. Influenced by philosophers Plato and Dionysius, light was believed to be “the most noble of natural phenomena, the least material, the closest approximation to pure form” (Von Simpson 1962, 51). Von Simpson (1962, 53) observed the extension of these ideas to religion, as light was considered to be “the most direct manifestation of God”. These philosophies influenced the architecture of religious structures, as light was “the thing that enabled a stone or piece of wood to serve as a vehicle for experiencing God” (Scott 2003, 123). The cathedrals built in this time “amounted to a neo-Platonic attempt to materialize and reflect spiritual perfection in the earthly sphere” (Scott 2003, 131-132). Creating cathedrals with an abundance of interior light became of utmost importance during this period.

Interior light, however, was not a prominent feature of the cathedrals that pre-date the Gothic period and new methods of construction needed to be discovered. As Gilgoff (2003) notes, “light was a scarce commodity in churches built in the prevailing Romanesque architectural style”. Gilgoff (2003) goes on to note that the heavy barrel-vaulted ceilings in Romanesque churches “meant few windows and a gloomy interior”. The desire to achieve greater height and replace as much wall space with windows as possible “led builders to perfect the coordinated interplay between ribbed vaults, pointed arches, and flying buttresses that distinguished the Gothic style” (Scott 2003, 134). These methods were primarily “developed in the service of the desire to flood the interior space with as much light as possible” (Scott, 2003, 109). This style of cathedral architecture became what is now known as the Gothic style that defined the era.

The abbey church of St-Denis has become widely accepted as the first structure that reflected this new Gothic style. While Scott (2003) notes that St-Denis cannot actually be classed as a cathedral, it is undeniably relevant to Gothic architecture as “the ancestry of every subsequent gothic church in the world… can be traced back to it” (Honour and Fleming 2009, 376). The man hailed as responsible for the innovation was the abbey’s Abbott Suger. Arguably, Suger manipulated the ideological claims of the abbey’s patron saint Denis (Pseudo-Dionysius) “to justify the materialism of his program” (Honour and Fleming 2009, 399). Regardless of his motivations, the quest for light brought about innovation by using well-established techniques of construction and combining them to create “an interior of unprecedented clarity” (Honour and Fleming 2009, 376). It is also worth noting that “it was at St-Denis that figurative stained glass windows… were first given the importance they were to retain for some four centuries in northern Europe” (Honour and Fleming 2009, 381). By creating his church in his image of heaven, Abbott Sugar arguably set the wheels in motion for the Gothic era.

The success of such innovation at St-Denis spurred the same ideas to be incorporated to larger cathedrals throughout France. However, rather than directly recreating the design of St-Denis, architects used this knowledge in “projects that explored the implications of Abbot Suger’s ideas” (Scott 2003, 14). Less than 20 years after the consecration of St-Denis, work began on what is now Paris’ most iconic Gothic cathedral, the Notre-Dame de Paris (Honour and Fleming 2009). Although more recent research disputes the claim (James 1992), it was believed for many years that “the first externally visible flying buttresses were those planned and built on the nave of Notre- Dame de Paris” (Clark and Mark 1984, 47). The structural support that the external flying buttresses provided allowed more opaque walls to be replaced with windows creating the light interior that defined the Gothic style.

Another way that light was used in the architecture of Gothic cathedrals was the use of stained glass to portray narrative. Aubert (1923, 266) notes, the Chartres Cathedral uses its stained glass windows to represent the life of Christ and his ancestors. When looking upon the rose window in the north transept, “every element in the design points toward the Virgin and Child in an intricate network binding the Old Testament to the New” (Honour and Fleming 2009, 384). Honour and Fleming (2009, 384) note that stained glass window art could have been considered a visual form of the Bible for the poor and illiterate. However, Rudolph (2011, 413) argues, “the depiction at Chartres is fundamentally one that participates in a literary culture, requiring for its comprehension either literacy or oral guidance by one who is literate”. Although the narratives often require captioning and explanation to fully comprehend their meaning, the use of stained-glass art in the cathedral use light to tell stories and create a sacred atmosphere.

It has been argued that Gothic architecture fused physical and metaphysical ideas to create the light-filled cathedrals of the era. Structural innovations that allowed for more interior light were discovered in response to ideologies that God was equated with light. The ideas that began at St-Denis were built upon to create masterpieces like the Notre-Dame de Paris or the Chartres Cathedral. By letting in more light, architects believed they were letting in God.

How to be goth at church

The Cologne cathedral is an example of famous gothic architecture.

Gothic was a style of architecture popular in Europe throughout the medieval period. The style was preceded by Romanesque architecture and succeeded by Renaissance architecture. The Gothic style originated from France in the 12th century and held dominance up until the 16th century. Some elements of the architectural style included the flying buttress, ribbed vault, and pointed arch. It was the design of choice for many of Europe’s churches, cathedrals, and abbeys. Other forms of structures made in the Gothic style include palaces, universities, castles guild, and town halls. Many large Gothic-style churches are listed as World Heritage Sites by UNESCO and are considered to be great works of art. The Gothic architectural style, especially for churches and cathedrals, is widely studied all over the world.

10. St. Mary's Basilica

How to be goth at church

St. Mary’s Basilica sits adjacent to the main square of Krakow, Poland. It was conceived in the 14th century in the gothic style. It features a famous wooden altarpiece. It is famous for having been inspiration for a number of churches built by members of the Polish disapora who immigrated abroad to areas such as North America.

9. Cologne Cathedral

How to be goth at church

Located in Cologne, Germany is a renowned monument to both Gothic architecture and German Catholicism known as Cologne Cathedral. In 1996 the monument was declared a World Heritage site by UNESCO. Cologne Cathedral also holds the designation of being the tallest Church in Germany with its twin spires reaching 515 feet. The construction of the Cologne Cathedral began in 1248, but it was left unfinished when construction halted in 1473. The church was not completed until 1880. Cologne Cathedral is the largest Gothic church in Northern Europe.

8. Westminster Abbey

How to be goth at church

Formally known as the Collegiate Church of St. Peter at Westminster, the Westminster Abbey is one of the most famous religious establishments in the United Kingdom, as well as the world. Located in London, it is also the traditional burial coronation place for British and English monarchs. The construction of Westminster Abbey started in 1245 and ended in 1517 in an Anglo-Gothic style after Henry III selected the site as his burial place. The building of the church was mainly finished by an English architect by the name of Henry Yevele.

7. Notre-Dame de Paris

How to be goth at church

Translating from French into “Our Lady of Paris”, the Notre-Dame de Paris is a medieval Catholic Church located on the Île de la Cité in central Paris. It is among the world’s most famous and largest church buildings is a fine example of French Gothic architecture. Many architects worked on the construction of Notre-Dame over the period it was built, and this is reflected in the different styles featured in the architectural design. In the 1790s the building suffered damage and consecration during the French revolution and most of its religious image was damaged. There was extensive restoration in 1845 and further maintenance and restoration in 1991. According to the 1905 law, Notre-Dame de Paris is one of the 70 churches constructed before that year that are owned by the French state. However, the Catholic Church remains the designated beneficiary.

6. Lincoln Cathedral

How to be goth at church

Also known as the Cathedral Church of the Blessed Virgin Mary of Lincoln or sometimes the St. Mary’s Cathedral, the Lincoln Cathedral located is located Lincoln, England. Construction of the Cathedral started in 1088 continuing throughout the medieval era in phases. For 238 years between 1311 and 1549, the Cathedral was the world’s tallest structure making it the first building to hold that title after the Great Pyramid of Giza. Lincoln is Britain’s third largest cathedral after St Paul’s and York Minster.

5. Church of Our Lady

How to be goth at church

Located in Bruges, Belgium the Church of Our Lady was constructed throughout the 13th, 14th, and 15th centuries. Its tower measures at 401 feet and is the tallest structure in the city. It is renowned for its altarpiece, which features a sculpture of the Madonna that was created by Michaelangelo using white marble sometime around the year 1504.

4. Florence Cathedral

How to be goth at church

The Cathedral of Saint Mary of the Flower, also known as the Florence Cathedral, is an Italian Gothic and Gothic Revival style cathedral whose construction began in 1296 and was completed in 1436. Located in the northern Italian city of Florence, it was designed by Arnolfo di Cambio. The basilica’s exterior features polychrome panels made from marble and a 19th-century facade in the Gothic Revival style by the Italian architect Emilio De Fabris.

3. Church of San Pablo

How to be goth at church

The Church of San Pablo is located in Valladolid City in Castille and León, Spain. It is a former convent and church designed in the Isabelline Gothic architectural style. Between 1445 and 1468 the church was commissioned by Juan de Torquemada, a Catholic Cardinal, to replace the previous church that once stood in its place. The Church of San Pablo is considered the city’s most emblematic buildings. In 2001, the church was listed as world heritage site.

2. Palais des Papes

How to be goth at church

Translated into English as the “Papal Palace”, the Palais des Papes, located in Avignon in southern France, is one of the largest gothic constructions in Europe. The palace features two joined buildings: the “new palais” of Clement VI the “old palais” of Benedict XII. Together the two palais frame the largest gothic building of the middle ages.

1. The Parish Church of St. Mary Redcliffe

How to be goth at church

St. Mary Redcliffe is an Anglican church located in Bristol, England whose construction took place between the 12th and the 15th centuries. The church has been in use for over 900 years. St. Mary Redcliffe is famous for its Gothic architectural style, and is listed as a Grade I historical site in England. Queen Elizabeth I described the church as not only the most famous parish but also the “best and fairest church in England”. The architectural style of the parish is perpendicular gothic.