At the beginning of the Renaissance in Italy, three types of
artificial light
sources were commonly used in theatrical events. The first, and probably the earliest light source, was the torch. The second was ceramic or metal oil lamps, with a wick protruding above the lip of the vessel, burning animal or vegetable oil . The third was tallow candles, which had been mass produced by molding since the 15th century.
An oil
lamp
(left) and a chandelier (right). An illustration from Nicola Sabbatini Practica De Fabricor Scene e Machine' Teatri, 1638
Production of tallow candles
References to the use of
stage
lighting in the theatre appear from the beginning of the 16th century.
Italian architect and
stage
designer Sebastiano Serlio (1475-1554), in the second part of his Tutto l'Opera d'Architettura, which deals with perspective scenery in the theatre describes the
stage
as being "adorned with innumerable lights, large, medium, and small". He then gives technical details regarding the lighting layout: "a great part of the lights in the center, hanging over the scene".
Serlio describes and illustrates three basic permanent scenic sets for tragedy, comedy and satiric plays. He goes on to specify three categories of stage lighting:
General chandelier light for both audience and actors.
Scenery illumination.
Dramatic lighting, changing in accordance with the action.
Sabastiano Serlio a set for Comedy. Tutto L"opera d"Architettura, 1545.
Serlio describes the use of vessels called 'bozze' in order to produce colored light. Bozze were glass vessels which, when filled with colored water or wine, served as filters for colored light. Serlio specifies light wine for light red and strong red wine for darkened light.
About ten years later Jewish playwright and producer Leone Di Somi Portaleone (1527-1592) discusses the subject of
stage
lighting in his writings. Di Somi, whose activities and writings are typical of the Italian Renaissance, wrote plays in Hebrew and in English and was responsible for directing and producing theatrical events staged in the court of the Duke Gonzaga of Mantova.
In 1556 Di Somi wrote a booklet devoted to the staging of a theatrical performance: Dialoghi in Materia di Rappresentazioni Sceniche. The fourth of these dialogues deals with
stage
lighting. The role of the lighting, Di Somi writes, is
Bozze used at the Teatro Olimpico.
to bring light, diversion and joy to the stage. Yet he makes a
clear
distinction between lighting for a comic and a tragic piece. When the light is dimmed in a tragic piece, this "… creates a feeling of terror among the spectators and the characters are glorified."
The Italian architect and theatrical engineer Nicola Sabbatini (1557-1654) described developments in the use of lighting in Venetian theatres of the 17th century, and the prevalent lighting instruments of his time. He indicated that chandeliers were used for general lighting both on
stage
and in the auditorium, and that oil lamps were employed to light what he called 'the scenes'.
17th century Italian
stage
lighting, as it developed in Venetian opera houses, was described extensively in 1628 by Joseph Furttenbach, a German architect and scenic designer who studied architecture and theatre design in Italy. Furttenbach describes the use of footlights, winglights and lighting from above the stage, in addition to the auditorium lighting which remained lit throughout the performance and contributed to illumination of the downstage area.
Renaissance theatrical light dimming mechanism. From Nicola Sabbatini Practica De Fabricor Scene e Machine' Teatri, 1638
He gives accounts of four types of lighting instruments used in the theatre. The 'glass oil lamp' which was hung above the stage, the 'Micareflector
light' which was effective for winglights, the 'leaning light', used in footlights, and the 'standing light box' which could be placed inside scenic units.
Plan of a
stage
with light sources behind the borders. J furttenbach, Architectura Recreationis, 1640.
A candle with a reflector, 1663, left Oil lamp, 1658 right.
