ILLUMINATION AND DARKNESS

GIFT FROM HEAVEN
Chiesa di Santa Maria in Cosmedin, Roma

Light illuminates the chapels, but halls between chapels remain banished in darkness. Windows line the top of the wall. The light pouring in through these openings renders the effect of Heaven shining its divine light down upon the earthly occupants of the church. Indeed, this idea of heaven and earth moving in proximity, in unison, is pervasive. The church floor contains a juxtaposed composition of the reminiscent squares and circles of heaven and earth, respectively. Below the heavenly windows, the walls are bare.

In one niche, darkness prevails; the tiny corner is untouched by daylight. Its turn will come: as the sun rotates, light will be cast upon even the smallest corner. The alcoves wait their turn patiently. For now, they receive only threadbare remnants of light, from moving beams which spotlight different sections of the marble floor.

In one corner, a single ray of light shines on a spot near a lone pillar. Seated in the center of the beam, a young lady looks up in bewilderment; her contact is loose. Deftly, she recovers and drips saline solution into her eye. It is as if planned. She looks up, and the healing light pours into her eye, moving evenly with the drip of the liquid solution. Unaware of the gift she has received, the lady stands up and moves away, out of the powerful light.


SIMPLICITY
Chiesa di San Giovenale, Orvieto

There is no artificial illumination in the church; it seems surreal. However, the blindingly bright day ensures plenty of natural light inside, streaming in through windows and open doorways. The church is simple- it lacks the ornate gilding or overwhelming fresco murals so prevalent elsewhere. The aisles are peaceful and empty. Here, the natural shadow and natural light are in constant competition.

A wide river of light bursts through a circular window overhead, pouring down into the church. As it descends, it bathes a beautiful stone pulpit in astonishing light. The effect is dramatic: the eye is immediately drawn to this marble object that might otherwise remain veiled in obscurity. The light alters the figure, sending a message: the simplistic is not without importance.

The focus of the church is not the faded walls, nor the unadorned ceiling of wooden rafters. There are no distractions to belief. In my mind, I see a priest at the pulpit, preaching to a solemn, devout crowd. He does not work for the attention of his audience. Here merely preaches what he knows, and the audience responds in kind. They already know to listen to him, for he is awash in the golden light.