In 1873 Michelangelo’s David was removed from its original location, in front of the Palazzo Vecchio, and taken to the “Galleria dell’Accademia” (Accademy’s Gallery), where the Tribune had been specially erected to give it a suitable accommodation. The architecture of the Tribune was designed to give an accentuated perspective view, from which the David was the focal point. The lighting was designed precisely to compensate for the frontality of the visit. The location of the sculpture, almost like a stage, would in fact paradoxically have risked flattening the work, making it appear as the backdrop of a scenography.
The lighting is based on scenarios that allow, in addition to a canonical reading, also more specialized readings, in which the reliefs are adequately highlighted. The scenes are activated by the museum staff or, on the occasion of particular events, are slowly faded on a timed loop. By taking advantage of the work of remaking the skylight, it was possible to place the projectors directly on the new walkable glass, in order to allow access from above for maintenance. Controlled beam floodlights for halogen lamps were used, in different batteries for the illumination of the apse bottom, the right and left sides and also for the details. Fluorescent luminaires were used to provide general diffused light through the skylight.