These 2,400 LED lights are not meant to dazzle spectators as much as they are meant to recreate the lighting conditions Raphael would have used to paint these rooms in the Vatican Museums in the sixteenth century.<\/p>\n
The task was difficult because it was a matter of artificially recreating the sun's intensity. The lights had to match the conditions in which the rooms were painted as closely as possible; thereby adding to the enjoyment of spectators.<\/p>\n
CARLO BOGANI Due to the success of the project, visitors are now able to view the \u201cSchool of Athens,\u201d one of Raphael's most famous works, like never before. The rooms appear as they would have to Raphael himself who, at a little over 25 years of age, painted the world famous fresco.<\/p>\n The artwork was commissioned by Pope Julius II who wanted to decorate the \u201cRoom of the Signatura\u201d as his personal library.<\/p>\n The \u201cSchool of Athens\u201d is known for its innovative composition and extraordinary perspective, through which Raphael wanted to encapsulate the history of philosophy. The center of the fresco is occupied by Aristotle and Plato who are settling their differences, whilst being surrounded by other great thinkers of the past.<\/p>\n After seeing the Sistine Chapel, Raphael included the philosopher Heraclitus in his fresco. Many believe it to be a representation of Michaelangelo in the painting. One of the painting's most noteworthy qualities is that it is one of the few that looks viewers in the eye.<\/p>\n At the forefront of philosophy, Raphael represents theology through \u201cThe Disputation of the Sacrament,\u201d which was in fact the first of the two frescos to be made.<\/p>\n Now visitors can enjoy these frescos in the way that Raphael intended, as if they were freshly painted on the walls.<\/p><\/p>\n","protected":false},"excerpt":{"rendered":" They are lit up by 2,400 led lights that reproduce the lighting conditions of the sun.<\/p>\n","protected":false},"author":0,"featured_media":28876,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[187],"tags":[],"acf":{"video":"https:\/\/youtu.be\/Bj_i-MDaTe8","video_descarga":"http:\/\/attuale.romereports.com\/news\/braffaellomuseivaticanieng.mov","international_url":"http:\/\/attuale.romereports.com\/news\/braffaellomuseivaticaniint.mov","type":"rrp","newsletter":"si"},"_links":{"self":[{"href":"https:\/\/www.romereports.com\/en\/wp-json\/wp\/v2\/posts\/50474"}],"collection":[{"href":"https:\/\/www.romereports.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.romereports.com\/en\/wp-json\/wp\/v2\/types\/post"}],"replies":[{"embeddable":true,"href":"https:\/\/www.romereports.com\/en\/wp-json\/wp\/v2\/comments?post=50474"}],"version-history":[{"count":0,"href":"https:\/\/www.romereports.com\/en\/wp-json\/wp\/v2\/posts\/50474\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.romereports.com\/en\/wp-json\/wp\/v2\/media\/28876"}],"wp:attachment":[{"href":"https:\/\/www.romereports.com\/en\/wp-json\/wp\/v2\/media?parent=50474"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.romereports.com\/en\/wp-json\/wp\/v2\/categories?post=50474"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.romereports.com\/en\/wp-json\/wp\/v2\/tags?post=50474"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nDirector of the lighting project<\/strong>
\n\u201cOur aim is to reproduce natural light artificially. Therefore, the challenge has been to reproduce the chromatic scheme of the sun, or at least the scheme closest to the sun, so that it resembles the conditions with which Raphael painted the frescoes.\u201d<\/em><\/p>\n