The transition from the Romanesque to the Gothic style in the mid-12th century was not merely a change in masonry, but a revolution in the philosophy of light. Romanesque cathedrals, with their thick, fortress-like walls and tiny windows, reflected a theology of protection and introspection. In contrast, the Gothic architect sought to dissolve the wall entirely. By utilizing the pointed arch and the flying buttress, builders redistributed the weight of the roof, allowing for massive expanses of stained glass. This 'lux nova,' or new light, was intended to transport the medieval worshiper from the earthly realm to a celestial one. Abbot Suger, the mastermind behind the renovation of Saint-Denis, argued that the contemplation of bright colors and luminosity could lead the soul to a higher understanding of the divine. Thus, the engineering marvels of the era were subservient to a specific aesthetic and spiritual goal: the capture and manipulation of sunlight.