THE EXPRESSIVENESS OF LIGHT IN CHURCHES
In much of the foregoing discussion the present predominating theatrical productions are not considered, for the lighting effects are good enough for them. Many ingenious tricks and devices are resorted to in these productions, and as a whole lighting is serving effectively enough. But in considering the expressiveness of light the deeper play is the medium necessary for utilizing the potentiality of light. These are rare and unfortunately the stage artist appreciative of the significations and emotional value of light and color is still rarer.
The equipment of the present stage consists of footlights, side-lights, border-lights, flood-lights, spot-lights, and much special apparatus. One of the severest criticisms of stage-lighting from an artistic point of view may be directed against the use of footlights for obtaining the dominant light. This is directed upward and the effect is an unnatural and even a grotesque modeling of the actors' features. The shadows produced are incongruous, for they are opposed to the other real and painted effects of light and shade. The only excuse for such lighting is that it is easily done and that proper lighting is difficult to obtain, owing to the fact that it involves a change in construction. By no means should the footlights be abandoned, for they would still be invaluable in obtaining diffused light even when the dominant light is directed from above the horizontal. In the present stage-lighting, in which the footlights generally predominate, the expressiveness of light is not satisfactory. Perhaps they are a necessary compromise, but inasmuch as their effect is unnatural they should not be accepted until it is thoroughly proved that ingenuity cannot eliminate the present defects.
The stage as a whole is a mobile picture in light, shade, and color with the addition of words and music. Excepting the latter, it is an expression of light worthy of the same care and consideration that the painting, which is also an expression of light, receives from the artist. The scenery and costumes should be considered in terms of the lighting effects because they are affected by changes in the color of the light. In fact, the author showed a number of years ago that by carefully relating the colors of the light with the colors used in painting the scenery, a complete change of scene can be obtained by merely changing the color of the light. Rather wonderful dissolving effects can be produced in this manner without shifting scenery. For example, a warm summer scene with trees in full foliage under a yellow light may be changed under a bluish light to a winter scene with ground covered with snow and trees barren of leaves. But before such accomplishments can be realized upon the stage, scientific knowledge must be available behind the scenes.
The art museum affords a multitude of opportunities for utilizing the expressiveness of light. This is more generally true of sculptured objects than of paintings because the latter may be treated as a whole. The artist almost invariably paints a picture by daylight and unless it is illuminated by daylight it is altered in appearance, that is, it becomes another picture. The great difference in the appearance of a painting under daylight and ordinary artificial light is quite startling, when demonstrated by means of apparatus in which the two effects may be rapidly alternated. Art museums are supposed to exhibit the works of artists and, therefore, no changes in these works should be tolerated if they can be avoided. The modern artificial-daylight lamps make it possible to illuminate galleries with light at night which approximates daylight. A further advantage of artificial light is that it may be easily controlled and a more satisfactory lighting may be obtained than with natural light. Considering the cost of daylight in museums and its disadvantages it appears possible that artificial daylight with its advantages may replace it eventually in the large galleries. If the works of artists are really prized for their appearance, the lighting of them is very important.
Sculpture is modeled by light and although it is impossible to ascertain the lighting under which the sculptor viewed his completed work with pride and satisfaction, it is possible to give the best consideration to its lighting in its final place of exhibition. The appearance of a sculpture depends upon the dominant direction of the light, the solid-angle subtended by the light-source (skylight, area of sky, etc.) and the amount of scattered light. The direction of dominant light determines the general direction of the shadows; the solid-angle of the light-source affects the character of the edges of the shadows; and the scattered light accounts for the brightness of the shadows. It should be obvious that variations of these factors affect the appearance or expression of three-dimensional objects. Therefore the position of a sculptured object with respect to the window or other skylight and the amount of light reflected from the surroundings are important. Visits to art museums with these factors in mind reveal a gross neglect in the lighting of objects of art which are supposed to appeal by virtue of their appearances, for they can arouse the emotions only through the doorway of vision.
A century ago mankind gave no thought to utilizing the expressive and impressive powers of light except in religious ceremonies. It was not practicable to utilize light from the feeble flames of those days in the elaborate manner necessary to draw upon these powers. Man was concerned with the more pressing needs. He wanted enough light to make the winter evenings endurable and the streets reasonably safe. The artists of those days saw the wonderful expressions of light exhibited by Nature, but they dared not dream of rivaling these with artificial light. To-day Nature surpasses man in the production of lighting effects only in magnitude. Man surpasses her artistically. In fact, the artist becomes a master only when he can improve upon her settings; when he is able by rare judgment in choosing and in eliminating and by skill and ingenuity to substitute a complete harmony for her incomplete and unsatisfactory reality. But everywhere Nature is the great teacher, for her world is full of an everchanging infinitude of expressions of light. Mankind needs only to study these with an attuned sensibility to be able eventually to play the music of light for those who are blessed with an esthetic sense.