Diana Darke
In Stealing from the Saracens: How Islamic Architecture Shaped Europe, Diana Darke maintains that the structural elements and style of many European gothic buildings borrowed heavily from the Arab world, especially from Islamic architecture.
Darke learned Arabic, immersed herself in the literature and culture of the Arab world, traveled extensively throughout the Middle East and Turkey, and spent several years in pre-civil war Damascus. She visited many of the archaeological ruins and religious sites she describes in her book. She makes a compelling case that structural elements and construction techniques in architecture, including pointed arches, ribbed vaulting, cross vaults, spires, stained glass, rose windows, domes, horseshoe arches, spires, window grilles, etc. had their roots in the Arab and Islamic world.
Through meticulous research, Darke demonstrates that from the early Middle Ages, various travelers to the Middle East and Spain studied Islamic buildings and mosques, taking extensive drawings and notes on the structures. From the crusaders and pilgrims visiting Jerusalem; the thriving trade routes, especially between Venice and Arab countries; military conflicts; and visitors to Muslim-ruled Spain, the opportunities for interaction and influence were many. The methods, computations for construction, styles, and techniques of Arab and Islamic architecture were transmitted to Europe where the structures were imitated. Europeans also studied the translated writings of Arab scholars in science and geometry to learn their techniques. These borrowings appear in prominent European buildings, including St. Paul’s Cathedral, Westminster Abbey, Venice’s St. Mark’s, and Notre Dame.
That Europe gained considerable knowledge of medicine, philosophy, science, mathematics, astronomy, including the words Algebra (from the Arabic word al-jabr, meaning to connect; to bring back together) and Algorithm (from Al-Khwarizmi, the scholar working in Baghdad during the late 8th century CE) is well-documented. It should come as no surprise that Europe also borrowed heavily from Islamic architecture. But as Darke argues in her conclusion, the point is not to claim the superiority of Arab architecture over its European counterpart. It is simply to acknowledge the heavy influence the Arabs and Islam have had on the architecture of Europe.
Darke’s research is extensive. The language describing the intricate parts of a building and the details of its construction may be too technical for those not well-versed in architecture. Fortunately, Darke provides an invaluable chapter at the end of her book in which she itemizes the first appearance of a key architectural feature of Arab/Islamic origin and highlights its appearance in European buildings. She also includes a glossary, index, and some breathtaking illustrations of ancient sites, mosques, cathedrals, and other prominent structures in the Middle East, Turkey, and Europe.