The Old San Antonio National Bank Building as Victorian Gothic
"John Ruskin was both the leading Victorian critic of art and an important
critic of society ." It is from this, then, that we may draw upon the importance
of Ruskin's ideal characteristics for the construction of Victorian architecture.
Ruskin also pointed out that a building must contain most, but not all
of six features to represent the gothic aspects of Victorian work: savageness,
love of change, love of nature, disturbed imagination, obstinacy, and generosity.
It is through these features, then, that we will discover the Old San Antonio
National Bank as work of Victorian Gothic.
I must first note that Ruskin's primary observation of Gothic architecture
is that "the roof rises in a steep gable, high above the walls..." and
"the principal windows and doors have pointed arches with gables over them
." It should be evident upon first glance that this building meets neither
of these criteria, and calls into question the fact that this building
is considered an observance of Ruskin's Victorian Gothic. I will argue,
however, that despite the lack of these two criteria, the overall design
of this building is a fine example of one that meets all other features
of gothic, fitting well within the limits of the Venetian construction
on which Ruskin based his work.
The Old San Antonio National Bank Building shows a distinct savageness
in its construction, based on the material from which it was built: Texas
limestone. The inaccuracies of the rudely cut brick give the building a
more natural appearance; an imperfect ornamentation that appeases the viewer.
Such savageness also adds to the appearance of nature, which as a feature
of the building separates the Gothic from the modern. The courtyard, filled
with varieties of vegetation, draws the building closer to nature from
the concrete jungle of the city. Such variety, a gothic aspect in itself,
is apparent from the palm tree at the entrance contrasted with the thick
hedges around the courtyard.
Construction variety within the building is an accurate display of the
love of change. The windows, while lacking the pointed arches, have oversized
round arches with gables. This Moorish design is an example of varying
sizes. At the entrance of the building, and on the sides of the windows,
the use of Roman columns shows the eccentricity that is Victorianism. Likewise,
the decorative tower on the corner of the building is roofed with a design
more Byzantine than the Medieval era from which Ruskin draws the steep
gables. However, this use of variety is what characterizes this building,
and others, as Victorian Gothic, rather than Renaissance.
A disturbed imagination is one brought out from crude images inherent within
the art of construction in a building. While somewhat subtle, the imagery
of medieval castle-like structures are indicative of the prison-like feeling
of being in one of these structures, which is a delightful contrast to
the business atmosphere of a bank. Such contrast is also seen in the obstinacy
of the building, in its artwork around the tower and the main lower level
window. Thorny and bristly, this sculpture engulfs the feel of nature as
well as the uncontrolled, yet brilliant craftsmanship put into the work
itself. The artwork described above also gives way to the generosity of
the architecture through the use of complex ornamentation.
All of the these features brought together finely display the architecture
of the Victorian time period. And while this building may not have the
features of the steep roof or the pointed windows, its eccentricity is
inherent of the gothic style of Victorian architecture.