Description

Abstract (English)

In Gothic architecture, light holds a profound symbolic and spiritual significance, closely aligned with Neoplatonic thought. It is perceived as a medium that reflects divine presence, elevating the soul of the faithful toward God. The roofing systems employed in the Gothic cathedrals of Northern Europe – characterized by cross vaults and pointed arches – enable the construction of lighter walls, allowing for the inclusion of large windows that let in abundant natural light.

This paper, developed as part of the CaMeRoofs project, funded by the European Commission under the Marie Skłodowska-Curie Actions (101104788), explores the architectural history of the Franciscan church of San Lorenzo in Vicenza (Veneto Region, Northeastern Italy), whose construction began in 1281. The study focuses on the relationship between the church's light sources and its roofing systems.

San Lorenzo, designed following a typically Cistercian layout, combines pointed arches and cross vaults systematically, enabling the inclusion of sizable windows that enhance natural lighting. The light is not concentrated in a single focal point but is evenly distributed through the rhythmic arrangement of ogival and round windows, partially diverging from the traditional sobriety of Italian Gothic churches. In such churches, windows tend to be smaller and often replaced by frescoed wall surfaces. In San Lorenzo, however, there is a notable openness to natural light, with windows that, while not as grand as those in French Gothic cathedrals, achieve a richer and more balanced illumination, avoiding the dazzling effect typical of Northern Gothic styles.

San Lorenzo's innovative design proved influential, particularly among the Dominican friars, who occasionally supplanted the Franciscans in advancing Gothic architecture in the Veneto. Between the 13th and 14th centuries, churches such as Sant’Agostino in Padua, Santa Anastasia in Verona, and San Nicolò in Treviso drew inspiration from San Lorenzo, engaging in a creative dialogue with French Gothic models.