Experiments with historic light in Kensington Palace's early eighteenth-century interiors

Prosser, Lee

Experiments with historic light in Kensington Palace's early eighteenth-century interiors

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Prosser, Lee

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2023

Abstract

The effects of historic light suffuse drama and cinema set in the past - in film we see flickering candles and characters gazing contemplatively at the hearth - the only sources of artificial light in a much darker world. Fire - when used as a myriad of candle lights in pendant chandeliers, wall sconces or candelabra - has the power to create dramatic variations of light and shadow; to soften, to enhance shine, to accentuate the glitter or diamonds and polished metal and convey a dramatic and sometimes romantic mood of other worldliness which is remote from the modern world. It therefore seems plausible to consider that historical surfaces were deliberately designed to respond to the effects of artificial light as well as daylight, and that through understanding this we might gain insight into the choices of colour, forms, and processes behind the design of historic interiors. However, to replicate that mood within a real historic interior is now almost impossible because modern lighting focuses on the optimum display of decorative arts or visibility and is subordinated to an entirely practical modern aesthetic. One or two places attempt it, such as Dennis Severs' house in London's East End, but they are small-scale and tightly controlled. In larger historic buildings, lighting candles and fires is impossible for reasons of health and safety, but also because we live in a world which has become accustomed to much higher levels of artificial light. Visitors demand to see the paintings in detail, to be able to read the labels and to navigate freely through rooms. As a result, many heritage organisations wrestle with the issue of 'historic lighting' in a sector where the standard is often set by galleries and museums and the primary objective is to illuminate individual decorative artworks divorced from their original context. The result is that within integrated historic interiors lighting has remained fairly unsophisticated or has attempted to apply concepts of gallery lighting, with unsatisfactory results. In recent years, however, the need to address the subject has become urgent as technological changes and European legislation have forced the phasing-out of traditional incandescent bulbs and their replacement with more energy-efficient LED technology - an evolving yet still essentially unproven form of lighting. Though developed in the early part of the twentieth century, LED lights only appeared on the market for domestic use around 2002 - yet by the end of the decade had grown exponentially in market share and are now dominant. However, the longevity of the bulbs remains unknown, despite the claims of manufacturers; the bulky nature of the earlier fittings limited the light emitted; and the truthful rendering of the colour of the light was also never adequately considered. The wholesale replacement of lights with this fairly new technology has, for these reasons, created unforeseen problems and has also altered the experience of historic interiors. Kensington Palace, a major London tourist attraction, is typical of this problem. Some parts of the palace still use lighting which was installed in the 1970s. Fluorescent neon strip lights remain hidden behind cornices to illuminate a series of spectacular painted ceilings; spot lights are positioned on cornices; while heavy, incongruous uplighters are moved around on dull days. In recent years, many of the bulbs have been replaced without much scrutiny by LED substitutes. As a result, the rooms have become unbalanced; colour temperatures have changed, altering perceptions; and artworks are not properly lit. To compound the problem, all these forms of light are alien to historic interiors. So, when a second phase of a long-term project to refurbish the King's State Apartments began in 2013, it was felt that light was such a crucial component that reinstating any kind of historical integrity could not be considered without applying more curatorial rigour and research to the subject. A project was thus initiated which aimed to understand how historical surfaces reacted to the eye under candlelight, and whether these effects could be replicated with modern lighting. As well as being an achievable goal, a second important question was whether such a thing was desirable. Most people believe that candlelight merely plunges a room into gloom and darkness, but this has rarely been tested scientifically. Kensington, then, going through a process of change and restoration, seemed a perfect test subject.