Characteristics of Florentine Gothic Architectural System

Nithin MT
Post-Graduation Student, Department Of Civil Engineering
Sreepathy Engineering College
Kerala Technical University
Palakkad, Kerala

Abstract
There existed a number of architectural and structural systems in the world since ancient ages.
The nave of Santa Maria Novella, Italy is chosen as a representation of the Florentine gothic
construction system. Cathedrals and churches indicates the physical presence of god which also
represents architectural, aesthetic and structural excellence. The Florentine gothic architectural
system is a regional difference that allows altered functions on other gothic architectural systems
and has been discussed in this paper. The design features were the use of external supporting
system, cross vaults and arches. Due to the fact that this system being originated in France, there
is a comparison of the former system with the French gothic construction system such that a
historical significance to future development has been discussed. In general, the structural system
of the nave of Santa Maria Novella is found to be the product of carefully considered structural
design, which may be considered as an alternative to the other regional Gothic construction
system.

1. Introduction
A large disagreement existed among historians of architecture over the nature of large-scale
buildings built during the late Middle Ages (1200–1400) in Italy. Some of them says that that
Florentine Gothic architecture which is a representation of Italian gothic architecture system does
not follow any model as distinct as the French high Gothic system. The proposed Italian Gothic
style by Smith (1977) refers especially to important buildings in 14th Century buildings in
Florence. In his study a hypothesized regional style, a Florentine Gothic construction system, is
analyzed. Santa Maria Novella (SMN), selected as the prototype of this construction system, has
long been recognized as a model for other churches and cathedrals in central and northern Italy.
Architectural historian Louis Grodecki (1977), described SMN as “the most successful and
promising achievement of Italian Gothic during the middle and second half of the thirteenth
century,” pointing to SMN as the first Italian Gothic work of architecture. The study of the
Florentine construction system will include a further investigation of a representative French
structure, the Cathedral of St. Etienne in Auxerre, France, for comparison to the better understood
structural system of the French high Gothic. The structural analysis can only be employed with the

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help of a comparison of similar systems because we can negotiate each one. The praising of one
system can’t have any validated proof. There are certain differences in dimensions and aesthetic
sense in case of multi scaled buildings even if they are of same importance and significance.

2. Gothic Architectural system

It is evolved from Romanesque architecture and was succeeded by Renaissance architecture.

Originating in 12th century France and lasting into the 16th century, Gothic architecture was
known during that period as French work and the term Gothic first appeared during the period of
renaissance. Its characteristics include the pointed arch, the ribbed vault and the flying buttress.
Gothic architecture is most familiar as the architecture of many of the great cathedrals, and
churches of Europe. The greatest number of surviving Gothic buildings are churches. Gothic
architecture did not emerge from a dying Romanesque tradition, but from a Romanesque style at
the height of its popularity. Just a single feature called the pointed arch separates gothic from
Romanesque tradition. The primary use of the Gothic style is in religious structures, naturally
leading it to an association with the Church and it is considered to be one of the most formal and
coordinated forms of the physical church, thought of as being the physical residence of God on
Earth. The local availability of materials affected both construction and style.

The nave of Santa Maria Novella

3. Specific characteristics of Florentine gothic architectural system
3.1 Height
A characteristic of Gothic church architecture is its height, both absolute and in proportion to its
width, the verticality suggesting an aspiration to Heaven. A section of the main body of a Gothic
church usually shows the nave as considerably taller than it is wide. On the interior of the
building attached shafts often sweep unbroken from floor to ceiling and meet the ribs of the
vault, like a tall tree spreading into branches.

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3.2 The Flying Buttress
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
into the ground. The flying buttress was not just practical, though it was also decorative. They
appeared to dart and sweep around each building, giving a sense of movement and of flight.
3.3 The Pointed Arch
The innovation of the pointed arch was another key characteristic of gothic architecture. Again
its significance was both practical and decorative. 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.
3.4 The Vaulted Ceiling
The vaulted ceiling was an innovation which lead on from the achievements of the pointed arch.
Irregular, vaulted ceilings utilized the technology of the pointed arch to spread force and weight
from upper floors. This provided the impression of height, grandeur and elegance. The
distribution of force within the vaulted ceilings enabled vaults to be built in different shapes and
sizes.
3.5 The Gargoyles
One of the most notable characteristics of gothic architecture is the gargoyle. Gargoyles are
decorative, monstrous little creatures, perched at along the roofs and battlements of gothic
buildings and castles. The gargoyle is one of the defining characteristics of gothic architecture,
and sticks in the mind even today.
3.6 Light and windows
The expansive interior light has been a feature of Gothic cathedrals since their inception, and this
is because of the function of space in a Gothic cathedral as a function of light that is very widely
referred to in contemporary text. The windows were very often filled with stained glass which
added a dimension of colour to the light within the building, as well as providing a medium for
figurative and narrative art.
4 French gothic vs Florentine gothic structures

The main naves of French Gothic cathedrals display some very similar features, generally
consisting of a central nave on each side by one or two lower aisles. The aisles are low enough to
allow the construction of a tall clerestory in the nave wall. The nave bays are generally
proportioned 1:2(length: width), and the aisle bays are close to square. The nave and aisle bays are
vaulted with rib vaults, and the vaults themselves have an approximately level crown line along
the axis of the nave and along the centerline of each bay perpendicular to the axis. The vault thrusts
are resisted by external buttresses, most commonly flying buttresses above the level of the aisle
roofs. On the other hand, in a Florentine Gothic church, the nave bays are square and the aisle bays
are rectangular. Although the nave bays are vaulted with a quadripartite rib vault, this vault is
domical, that is, the crown is distinctly higher at the midpoint of the bay and lower along the
exterior nave wall and along the transverse arches bounding each bay. To resist the thrust of these
vaults, the aisles are built proportionally higher than in the French Gothic system, and buttressing

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is added in the form of solid walls under the aisle roof to assist in the distribution of vault thrust to
exterior wall.

5. Comparison between Florentine and French gothic systems

The geometry of the two structures had been made by mathematical modelling and loads were
given and the structures were analyzed by computer software ANSYS. Two sets of analyses are
carried out on the quarter vault models:
Vaults without exterior walls: In this analysis, a comparison is made between the distribution
of loads from the vault alone in the longitudinal, transverse, and vertical directions.

Vaults with exterior walls: In this analysis, the exterior longitudinal walls are added to the
vault models extending to their full height in order to identify the contribution of these walls to
the structural system

Physical dimension Reaction forces at Reaction force ratios

ratios base(KN)

Model x/z y/z FX FY FZ FX/FZ FY/FZ

FRENCH 1.4 0.7 68 25 346 0.19 0.08

FLORENTINE 1.3 1.2 113 118 654 0.17 0.18

6. Conclusion

French style results in larger ratios for the transverse forces and thus requires a more elaborate
buttressing system. SMN has both rectangular and square bays, but all of the nave and aisle vaults
are domical. As a result of the comparisons of bay plans and vault geometries, it is evident that
square bay is better suited to a domical vault, while the rectangular bay is better utilized with even-
level-crown vaults, and each pair has its own advantages and disadvantages. The domical vaults
distribute the forces more like a dome, especially in the square plan arrangement. However,
structural analysis alone can only assist in the development of a narrative of the construction of
Santa Maria Novella.

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References

1. Brown, J. W. (1902). “The Dominican Church of Santa Maria Novella Florence: A

Historical, architectural, and artistic study”, Otto Schulze& Co., Edinburgh.
2. Erdogmus, E. (2004). “Structural appraisal of the Florentine gothic construction system.”
Ph.D. thesis, The Pennsylvania State University, University Park, Pa.
3. Trachtenberg, M. (1991). “Gothic/Italian gothic: Toward a redefinition.”J. Society of
Architectural Historians, 50(1), 22–37.
4. Branner, R. (1960). Burgundian gothic architecture, A Zwemmer Ltd., London.
5. Smith, E. B. (1997). “‘Arts mechanica’: Gothic structure in Italy,” The engineering of
medieval cathedrals, L. Courtenay, ed., Ashgate, Aldershot, Hampshire, U.K.;
Brookfield, Vt., 219–233.
6. Bond, Francis. Gothic Architecture in England: An Analysis of the Origin & Development Of
Peregrinations: Journal of Medieval Art and Architecture, Vol. 5, Iss. 2 [2015]

Websites:

http://www.uni.edu/universitas/article/gothic-architecture-geometry
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