Project team:

Client: World Monument Fund
Lighting design: Consuline – Serena Tellini and Francesco Iannone
Architectural consultants on site: Elvira Caiano and Emanuela
Settimi, Directorate General Fine Arts and Landscape, City of Rome
Electrical engineering: Albertin & Company – Giovanni Albertin, Daniele Pessotto
Electrical installations: Sefir srl

Products applied:

Lighting controls: Helvar

26. Feb 2016

The “Monza Method”

Text: Francesco Iannone
Photos: Marco Reggi
Drawings: Francesco Iannone

The illumination of historic art, frescos and statues is currently gaining in terms of quality through LED technology. What was formerly simply regarded as a task for uniform lighting – also with regard to the spectral composition of the light – is now seen as a design challenge. Paintings can be lit sensitively, and attention paid to the way different pigments respond to light. Two projects recently completed in Rome make for an interesting comparison: the Sistine Chapel and the frescoes painted by Annibale Carracci in Palazzo Farnese.

Palazzo Farnese in Rome was originally designed by the Renaissance architect Antonio da Sangallo the Younger. He was commissioned by Cardinal Alessandro Farnese (later Pope Paul III), who purchased land and other buildings in the area between 1495 and 1512. Work began in 1514, was interrupted by the Sack of Rome in 1527 and resumed in 1541, by which time Cardinal Alessandro Farnese had become Pope. After the death of Sangallo in 1546, the work was continued under the direction of Michelangelo, who completed the third storey with the deep cornice and the balcony above the main entrance with the large coat of arms, and redesigned the courtyard. Today the building is one of the most important High Renaissance palaces in Rome and currently serves as the French embassy in Italy. Several of the main interior spaces are decorated with frescoes by Bolognese painter Annibale Carracci, including the well known The Loves of the Gods ceiling fresco cycle in the Farnese Gallery, completed at the end of the 16th century. […]


The full version of the article can be found in PLD No. 100
Our PLD magazine app (iPad App Store) contains a media-enhanced version.

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