Architecture of Light - Case study Holly Cross Church in Nin,

Croatia

Ivanka STIPANČIĆ-KLAIĆ
Senior lecturer, Department for Hydrotechnics and Ecology, Faculty of Civil Engineering, University of
Osijek
Drinska 16a, Osijek, Croatia
istipan@gfos.hr

Davor ANDRIĆ
Teaching assistant, Department of Architectural Structures and Buildings, Faculty of Architecture,
University of Zagreb
Kačićeva 26, Zagreb, Croatia
dandric@arhitekt.hr

Anja KOSTANJŠAK
PhD student, Faculty of Architecture, University of Zagreb
Kačićeva 26, Zagreb, Croatia
anja.kostanjsak@gmail.com

Abstract
Since the immemorial time and first cultures, light symbolic role has been related to sacred, religious
and cosmologic beliefs. This symbolism can be found especially in religious buildings, trough creation
of aesthetics and worshipping. This connection can be found not only between the believers and their
religion, where light is treated as the materialized representation of the Divine, but also between
believers and the architecture of the building, or to better say architecture of light.
This paper main goal is research and comparison of the way light flows through build religious
environment. General study focuses on exploring of the meaning and importance that light has in
religious architecture. Through comparison of light at different times and seasons in Holly Cross church
in Nin, Croatia we are going to make a mapping of different light movements with 3D simulation, and
find a relation between form, ritual and light.

Keywords: Light, geographical latitude, sun movements

1. Introduction

1.1 Inability of builders or architectural perfection

According to M. Pejaković at a time when church of Holly Cross was erected, which is probably ninth
century, Nin already had larger churches, church of St. Marcela-Mary, cathedral of St. Asel Bishop and
Martyr, and St. Michael. Builders in Nin region already have experience in the construction of religious
buildings, so the thesis of S. Gunjače in "Starohrvatska baština" where he states that "our bricklayer
was clumsy in his trade." is disputed. However, it is natural to wonder why the church of Holly Cross
looks so irregular and so clumsily built.
First writings regarding the church were from Ivan Kukuljević Sakcinski in 1857 when he travelled
through Dalmatia toward Napoli and Rome. Afterwards Viennese researcher Eitelberger wrote and
examined the church, but only when curiosity of Mladen Pejaković was aroused towards the church, he
conducted detailed quantitative analysis and provide answers to many questions.

1.2 Erection of the church and Saints of Nin

Almost certainly we can consider erection of church as the work of the Benedictines who operated in
Nin during the ninth century. Written proof from that period is grant issued in Nin in year 1069 that read
how the Croatian king Petar Krešimir IV donated islet Maon near Zadar to Benedictine monastery of St.
Krševan in Zadar. Grand exudes with solemn tone and is donated in festive occasion at the beginning
of the New Year, which was then calculated on 25th of March and is related to the equinox. Later in this
text we shall discover the length Pejaković calls “new year pointers / wises, length on which shadow of
northeast ray falls.
It is important to note, in favour of the builder theses, that court offices kept textbook for calculation of
dates, and the time was counted by scholars, church people, abbots and bishops.
We should emphasize that there were three local saints that were specially celebrated in Nin. St. Asel
bishop and martyr – 26th of August, St. Ambrose his deacon – 9th of February (monastery church is
dedicated to St. Ambrose), and St. Marcela the Virgin – 23rd of August (she was maid of Lazarus’ sister).
The basic layout of the apse, the apertures, and the septum is set in dependence of the sun's position
on St. Ambrose, the deacon. (Figure 1)

Fig.1: Layout of church in accordance of calendar dates of Saints and the cardinal points with facades of church
from exact cardinals, in order from left to right: north, south, east west.
(sources: left composite image: Pejaković (1978) and authors, right images: authors)

1.2 Celebration of light in religious buildings throughout the history

In early Christian and Byzantine Churches light was considered as the materialized representation of
the Divine. Geographical position of Byzantine Architecture with its worm and bright climate of the
Eastern Roman Empire, required small apertures to admit the necessary light, and the employment of
mosaic in large windows weren’t adequate in accordance to climate. Light was sometimes filtered
through thin sheets of alabaster to create even softer illumination. Early Christian, and some Byzantine,
churches maintained the form of the Roman Basilica with central nave flanked by lower aisles and a
wall pierced by clerestory windows in-between. But the most commonly preferred system were windows
at the base of the dome, with apertures sometimes grouped in the gable ends or within the semi-circular
arch beneath the dome (Fletcher 1905).
Medieval Cathedrals Romanesque Architecture interiors were heavy in their making and had dim
lighting. The nave was usually consisting of two levels; arcade and clerestory. A third level was later
inserted between them, a gallery called the ‘triforium’, which opened into the space beneath the sloping
roof of the aisle. On the other hand Gothic Architecture was characterized by lightness and soaring
spaces and structures were ‘designed around light’ (Swaan 1988), where cathedrals used different
methods to capture light and transmit it into the spaces. Gothic churches employed vast expanses of
stained glass, displaying a visual attempt to create a setting ‘where people could get a taste of heaven’
(Scott 2003).
Renaissance and Baroque Cathedrals Renaissance Architecture valued most of all pure light from
nature. It was the ideal tool and no more diffusion of light was used. The return to Classical Architecture
produced a turn back to oculi, in the form of the lantern mounted on top of a dome. Studies of different
shapes of windows marked the architecture of this era. In this era, the theme of altar illumination was
explicitly raised, where the ‘quadro’, or the ‘pala’ (the ornate front of the altar), receive double light shafts
from two apertures on both sides (Davis 2002). Light shafts were used to create three phenomena: firstly
to fall onto the altar in the morning; secondly, to fall on certain icons in certain dates; and thirdly, to pore
light on Jesus’ image in the dome’s interior. Latter, in Baroque style, light was used dramatically with
high contrasts of light and shadow. Main effect was chiaroscuro. The supreme example of this period
was that of The Basilica Di San Pietro, where the sunbeams from the clerestories reflect from the
polished surfaces, bathing them in ethereal glow.

2. Metric system at the time of foundation of church

2.1 Anthropological units of measurement

It is the metric system which was used by Augustus architect Vitruvius and about which he wrote in the
book "De Architectura". Human body is divine act, it is consistent. Therefore, starting from man and
proportion of body parts, considering them suitable as a base for the ideal number system and
proportions:
Tenth part of the body = face from chin to forehead and the beginning of hair = palm of the hand from
the crease to the tip of the middle finger,
Eighth part = head from the chin to the top of the scalp = from the lower part to the occiput,
Sixth part = from top of the breast to the beginning of the hair,
Fourth part = from mid chest to the top of the scalp,
Third part = on face from the beginning of the chin to the beginning of the nostrils = from nostrils to the
beginning of each eyebrow,
One third = from the middle of the eyebrows to the beginning of the hairline,
Sixth part of the body height = foot,
Fourth part = elbow,
Fourth part = breast,
Belly button = the centre of the body, a circle with the centre in the navel that touches fingers and toes.
Man's body is taken even as a guideline for the square, by taking measure of the height of a man from
the bottom of the leg / foot, to the top of the head, and that distance is then transferred to the width of
his hands. Painters and sculptors also have used these proportions, same as the builders which applied
a similar principle. They took proportions corresponding between some body parts towards the whole,
taking proportional relations of the parts against the whole structure, with having thumb, palm, feet or
elbow as standard measures. In Vitruvius six is a complete number. In this system: 1 is , 2 is , 3 is , 4
is , 5 is , and this is the basis of the measurement system with the anthropological measurement units.

2.2 Proportions
For Vitruvius, man is a metaphor for proportional cosmos; that man erects churches, houses of prayer
for his creator according to the law of numbers. Number was created by their ultimate creator, and a
man erects the same way as me was created [1]. Human body houses three types of proportions, and
book of wisdom writes about it. Proportions are relations between the numbers, and they can be
constructed with compass and ruler. Ancient builders used arithmetic, geometric and harmonic
proportions.
Numbers in arithmetic proportions, a, b, c, if true , for example 2, 4, 8 and so on. Or in arithmetic
progression where the middle number is semi-sum of adjacent members .
In geometric proportion of numbers a, b, c, first and secondary equal to the ratio of the secondary and
final or secondary number squared is the product of adjacent members . Specially geometrical
proportion of a four members sequence a, b, c, d where , but when we take in equation that the first
number is sum of first two, and forth same as first, we get proportion , where the smaller part to the
larger concerns as a whole toward larger part. This is sequence according to Fibonacci from Pizza.
They also use golden section.
Harmonic proportion , , for example 6, 8, 12, 24 and so on.
For measuring they use rope with twelve nodes, because it is convenient in measuring and constructing
right triangle (3, 4, 5). The geometric relationship, and numeric halves, thirds, sixths, twelfths appear
further through the forms and volume of the church. (Figure 2)
Fig.2: Measuring of layout and section with the help of a rope, with modular measurement unit of 2 feet, from which
we can see that dimensions are given in integers.
(source: Pejaković (1987))

Ancient builders more often than not construct their proportions with ruler and compass, using also
proportional lengths, surfaces and volumes. They don’t calculate proportions and they don’t think of
numbers, instead, they think of space itself.

2.3 The inclination of the sun's rays

In Vitruvius time there is still typical use of geocentric system, and jet the annual and daily movement of
the sun was precisely determined. Term of geographic latitude is known back then. From the position
of the equinoctial shadow, obliquity of the ecliptic is calculated, which causes the change of seasons. It
is assumed that the tilt of Earth's axis at 24° is fifteenth part of angle of circle, which is a difference of
0.5° in relation to nowadays measurements.
Height of sun or the angular inclination of the sun's rays on the horizontal plane is determined by the
rod called gnomon. It is oldest astronomical device that is used to determine the solstice and equinox
days, noon line and its exact direction north-south, length of the year and the ecliptic.
The sun on its way through celestial sphere passes through different points and thereby changes its
angle to the horizon plane. At noon, when the sun culminates in the local meridian, gnomon shows
shortest shadow. As during the year sun changes its position of sunrise, it also changes the local
azimuth, therefore changing the angle of the observer in the plane of the horizon.

3 Square as a determinant of form for the little church Holly Cross

3.1 Squares and double squares

First glance at the layout, facades and sections, it is clearly visible that the form which determines the
church indeed is a square. The diagonals of the square intersect in the point that is twice irrational,
which is because the diagonal of the square is incommensurable with its side. When cross is drafted
through the centre of the square, it results with four equal squares, and if we combine together adjacent
squares we result with double square or doubles with a diagonal of . Diagonal of whole square and the
diagonal of one double square, intersect in a point which is from mathematical point of view trice
irrational point. But if taken two doubles and such point of each smaller square and of two diagonals of
square, that are four points, and now in the square we can distinguish the square shape of a cross,
which is also called cross-thirds. This tripartite division with isosceles cross is fundamental form and
measure of project methodology of early Christian and early medieval architecture and is rich in
symbolism. (Figure 3)
Fig.3: Layout and section positioned in the space with schematic display of diagonal of the doubl square and
shaping of square cross.
(sources: left image: authors, middle and right: Pejaković (1987))

3.2 Layout and under dome figure

Pejaković starts from church layout and draws above it square as “decryption net”, using the method
which Claude Lvi-Strauss described and through its means he studies quantitatively distinctions. Noting
deviations, he sees similarity in them. They are regular and show certain rhythm, which reinforces the
stance of Pejaković about church layout being made with deformation, which is intent deviations, and
not some random making of some not so skilled constructors.
In his next step he reveals that shape under the dome has one side deflected whit same angle as outer
walls in relations to projected square. Earlier researchers thought that it was a trapeze.
Fig.4: Incline angle reveals a sense of regularity showing diagonal of deformed under dome figure.
Illustration shows as projected square with silhouette of church layout, and in it drawn under dome form
. Pejaković checks everything, he even thinks that it is rectangle, because by simply checking it is shown
that the sides of the square are mutually parallel. Sides and with and , also sides and with side ,
but side is averted from its initial position towards inner of figure position of so that projection of sun
rays would fall in position north – south. (Figure 4)
It is the same angle for which the outer walls area averted from square. When the day is clear and
sunny, at noon when sun passes through local meridian, on this line falls shadow from vertical pole
known as gnomon. Length of the shadow changes in accordance to angle of sun rays in specified day.
In three places the same angle is placed: in outer line of layout, in under dome section and in alteration
of diagonals of designed square towards direction north – south / south – southwest. Central point of
layout is O point which is central of rotation for diagonals and altered diagonals, it is projection of small
dome diagonal above which it is a line that every day houses a noun ray. Irregularity is measured with
angle .
A ray of light is delayed due to the natural obstacle of the Velebit Mountain. This delay is built in the
design of church.
(source: Pejaković (1987))

4 Experience the sun through the church

4.1 Sun threatening the horizon

Horizontal and vertical arrangement of the church reflects the height of the sun in the meridian in the
days of the equinoxes and solstices. In Nin, on 21st of March and 23rd of September inclination of the
sun's rays is 46 °, and the solstice inclination is 69 ° 19 'and 22 ° 26' at the time of the winter solstice.
With use of the declination of the sun and the latitude the angle is determine for inclination of the sun's
rays when passing through the local meridian. Declination of the sun on equinox is , on summer solstice
it is , and on winter solstice . Geographical latitude of Nin is , and height of the sun in meridian on equinox
is , on summer solstice , and winter solstice (Figure 5)

Fig. 5: Calculation of equinox height in local meridian and calculation of sun height in local meridian in accordance
to equinox and solstice.
(source: Pejaković (1987))

4.2 The church wrapped in rays of the Sun

Church layout is tetraconch (a tetraconch, meaning in Greek "four shells", is a building, usually a church
or other religious building, with four apses, one in each direction, usually of equal size. The basic ground
plan of the building is therefore a Greek cross.), when viewed from above and in volume resulting from
the circular roof and ring beneath it.
All outer walls of church are rotated in direction of sun rays on exact dates, and that is the reason why
the layout could be “wrapped with rays of sun” which was firstly observed by Mladen Pejaković. Façade
which encloses main apse, AB length on illustration, is the façade which is laid in the direction of summer
solstice east, which falls on 21st of June, known as Ivanovo in Croatia (St. Ivan / St. John).
Diagonal of projected square is placed in the direction of the first ray of light on spring equinox, 21st of
March day of St. Benedict, and autumn equinox, 23rd of September, day of St. Mihovil. If this equinox
rays conjoin, we obtain a square which is disrupting church Holly Cross layout. The shadow in the north
corner outside the church, and in that rectangle from point D to point E. The northeast wall, CD, entrance
wall from point E and south-eastern direction of GH were laid in the direction of the rays of the sun on
the winter solstice. Entrance façade EF lays on the base of projected square and is also parallel with
base, DG and height CH under dome square. Here we see that deformation is motivated through
function of dates. (Figure 6)
Fig. 6: Functionally motivated deformation
(source: Pejaković (1987))

4.3 Interior of church

Interior layout of church is somewhat more regular than the exterior layout.
Entrance to church is rectangular, and when passed through we enter longitudinal nave, and it finishes
whit three apses with their apertures. Apertures on lateral apses are rectangular. When person stops at
the entrance to the church on position C, all three apertures A, G, B on all three apses can be seen.
Last position from which all three apertures could be visible is position D. Width of the entrance, EF
length is connected with apertures so that angles CDE and CDF are equal to angle of equinox and
solstice point on local horizon of the viewer in Nin 23,5°. Angle ADG and BDG are 33,6. (Figure 7)
Fig. 7: View from the entrance where we have all three apses in our field of view, pointing to the "correctness" of
the interior space
(source: Pejaković (1987))

Pejaković also reveals that on the feast of St. Ambrose the deacon AD ray falls through aperture on
lateral apse all the way to point D, and in its extension falls on C point, defining in that way entrance
wall. Clear diagonal of entrance to the church in late evening hours shines the holly water in basin.

4.4 Sun woven in praying hours of the church

Benedictine monks created in year 529 SANCTI BENEDICTI REGULA MONACHORUM in Monte
Cassino monastery, in which they defined forms and arrangement of monastery life, under their motto:
ora et labora.
Sixteenth chapter of Regula enumerates praying hours of the day. This notion is important to us because
by examining this hours, and the way light falls in church through apertures, we confirm the statement
of Pejaković, in which he states that the inner and outer shape of church are made deliberately in
accordance to sun rays. So the sun is “literally” wove in all ways with church itself.
Below are three illustrations that show light flow through church during praying hours. Dates that are
taken are equinox, summer and winter solstice. (Figure 8, 9, 10)

Fig.8: Layout scheme of praying hours on 21st of March, and 23rd of September, or spring and autumn equinox.
Praying hours: Prima 7h49’, Tertia 9h50’, Sexta11h52’, Nona13h53’, Vesperae 15h54’ and Completarium 17h56’.
(sources: left: Pejaković (1987), right images: authors)

Fig.9: Layout scheme of praying hours on 21st of June, or summer solstice. Praying hours: Prima 6h45’, Tertia
9h26’, Sexta 12h20’, Nona 14h35’, Vesperae 17h05’ and Completarium 19h38’.
(sources: left: Pejaković (1987), right images: authors)
Fig.9: Layout scheme of praying hours on 21st of December, or winter solstice. Praying hours: Prima 9 h, Tertia
10h27’, Sexta12h, Nona13h27’, Vesperae 14h54’ and Completarium 16h21’.
(sources: left: Pejaković (1987), right images: authors)

5 Conclusion
Holly Cross church was built on Maon insula which Petar Krešimir IV donated to Benedictine monastery
of St. Krševan at the beginning of a New Year, which, at the time being started with the spring equinox.
The manifestation of the time was a privilege associated with the court and scholarly Benedictines.
We have shown that the church of Holly Cross was created by careful consideration of its authors. Today
we can freely say that the church is well coded transferor of information. We interpret that the authors
knew well the geographical position that determined Nina, the movements of the sun and wit that
knowledge they were capable to construct elements, skilfully used measuring system and proportions
of that time. This small structure permanently transferee us knowledge and beliefs, and customs of the
citizens of Nina and the environment

Bibliographical References
[1] FLETCHER, Banister. A History of Architecture on the Comparative Method for the Student,
Craftsman, and Amateur. London: B. T. Agnew, & CO, 1905.

[2] PEJAKOVIĆ, Mladen. Broj iz svjetlosti Starohrvatska crkvica svetog Križa u Ninu. Zagreb: Nakladni
zavod Matice Hrvatske, 1978.

[3] SWAAN, Wim. The Gothic Cathedral. Georgia: Omega Books, 1988.

[4] SCOTT, Robert. The Gothic Enterprise: A Guide to Understanding the Medieval Cathedral . Los
Angeles: University of California Press, 2003.