The Role of Lighting in Exhibition Success: A Plea for Philological Accuracy

Fabrizio Federici argues that museums and exhibitions neglect the original lighting conditions under which artworks were conceived, compromising their intended effect. He cites Benvenuto Cellini's anecdote of presenting a silver Jupiter to Francis I of France at night, using a torch hidden in the statue's lightning bolts to create a lifelike appearance. Federici contrasts this with modern practice, where spotlights distort artworks, and laments the lack of 'philological execution' akin to historically informed music performance. He criticizes the 2003-2004 Canova exhibition at Bassano del Grappa, where neon lights deformed marble statues. For Baroque works, he notes that Gian Lorenzo Bernini's masterpieces are viewed under altered conditions, such as the stained-glass windows installed in the 1950s at Santa Maria della Vittoria, which block natural light from the Cornaro Chapel. A recent replacement of the oculus glass has improved the illumination of Bernini's Ecstasy of Saint Teresa, revealing unexpected splendor.