VIGNOLA'S GESU

emphasis in the Gesu plan. In theGesu this emphasis on the eastward
drive is obviously deliberate. The tunnel-vault and above all the
main cornice, running all the way through without a break, take
it up most eloquently in the elevation. There is however one element
in Vignola's design that it would be impossible to find in the same
sense in any mediaeval church: the light In the cathedral of the I3th
century the stained-glass windows glow by means oflight penetrating,
but light itself is not a positive factor. Later on, in the Decorated
style, light begins to model walls with their ogee-arched niches
and play over filigree decoration, but it is never a major considera-
tion of architectural design. In the Gesu, on the other hand, certain
important features are introduced into the composition exclusively
in ord^r to make light-effects possible. The nave is lit from windows
above the chapels—an even, subdued light. Then the last bay before
the dome is shorter, less open and darker than the others. This con-
traction in space and lightness prepares dramatically for the majestic
crossing with its mighty cupola. The floods oflight streaming down
from the windows of the drum create that sensation of fulfilment
that Gothic architects achieved in so much less sensuous a way.
The decoration of the Gesft appears sensuous too, luxurious though
sombre. However, it is not of Vignola's day. He would have been
more moderate, with smaller motifs and a shallower relief; this is
certain from what we know of late 16th-century decoration. Thus
the efiect of the mediaeval movement towards the east would have
been much stronger, with less to deflect attention from the cornice
and the mighty tunnel-vault. The redecoration was done in 1668-83.
It belongs to the High Baroque, whereas the building is, to say it
again, Mannerist, neither of the equanimity of all High Renaissance,
nor of the expansive vigour of all Baroque.