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Within The Pantheon Analysis

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Bernini and Bellori had described the lighting of the Pantheon and Caravaggio’s paintings, respectively, back in the seventeenth century. Whereas, Bernini described the Pantheon lighting as light from above that enhances the beauty of any object or person within the space. On the other hand, Bellori described Caravaggio’s paintings as a great example of chiaroscuro, of which was achieved by using minimal artificial lighting just to expose the central figures and leaving the rest in shadow. Both Bernini and Bellori appreciates the lighting in the spaces and of the objects. This analysis agrees with both Bellori and Bernini with their description of the lighting and personal opinions of the lighting.

Bernini’s description of the Pantheon says …show more content…

The chapels where placed within the walls of the Pantheon and require artificial lighting because the natural lighting needed assistance with illumination. For example, St. Joseph’s chapel, located in the first chapel to the left of the entrance, has a sculpture of St. Joseph and the Holy Child done by Vincenzo de Rossi which has some artificial lighting from above the sculpture. This creates a golden coloring of the figures making them appear as if they are coming out of the niche. The natural lighting reaches the bottom of the niche but not most of the sculpture directly. This effect keeps the figures static parts in the shadow, while the dynamic parts are lighted for that motioned appearance. Beside the sculpture is a painting done by Francesco Cozza, in 1661, called Adoration of the Magi. This painting do do receive natural lighting from the oculus, but at an angle where the right side of the painting is highlighted more than the left, but left is where is the focus. The only problem with the natural lighting in this building is how the light reaches the niches and their containments. But the paintings and sculptures within the rotunda are much better …show more content…

Being the only two figures within the whole composition, the angel speaking to St. Matthew are both within the light. Against the dark background, the two figures are the focus of the painting. In this painting, its clear to tell who is St. Matthew. The warm artificial lighting from below highlights the figures and brings the viewer into the naturalistic scene. With St. Matthew’s back towards the angel he appears to hiding what he is writing, while the angel is telling him a list of things to include. The lighting on each of these figures creates that chiaroscuro

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