References to the use of stage lighting in the theatre appear from the beginning of
the 16th century.

Italian architect and stage designer Sebastiano Serlio (1475-1554), in the second
part of his Tutto l'Opera d'Architettura, which deals with perspective scenery in the
theatre describes the stage as being "adorned with innumerable lights, large,
medium, and small". He then gives technical details regarding the lighting layout:
"a great part of the lights in the center, hanging over the scene".

Serlio describes and illustrates three basic permanent scenic sets for tragedy,
comedy and satiric plays. He goes on to specify three categories of stage lighting:

* General chandelier light for both audience and actors.

* Scenery illumination.

* Dramatic lighting, changing in accordance with the action.

Serlio describes the use of vessels called 'bozze' in order to produce colored light.
Bozze were glass vessels which, when filled with colored water or wine, served as
filters for colored light. Serlio specifies light wine for light red and strong red wine for
darkened light.

About ten years later Jewish playwright and producer Leone Di Somi Portaleone
(1527-1592) discusses the subject of stage lighting in his writings. Di Somi, whose
activities and writings are typical of the Italian Renaissance, wrote plays in Hebrew
and in English and was responsible for directing and producing theatrical events staged
in the court of the Duke Gonzaga of Mantova.

In 1556 Di Somi wrote a booklet devoted to the staging of a theatrical performance:
Dialoghi in Materia di Rappresentazioni Sceniche. The fourth of these dialogues deals
with stage lighting. The role of the lighting, Di Somi writes, is to bring light, diversion
and joy to the stage. Yet he makes a clear distinction between lighting for a comic
and a tragic piece. When the light is dimmed in a tragic piece, this "… creates a
feeling of terror among the spectators and the characters are glorified."

The Italian architect and theatrical engineer Nicola Sabbatini (1557-1654) described
developments in the use of lighting in Venetian theatres of the 17th century, and the
prevalent lighting instruments of his time. He indicated that chandeliers were used
for general lighting both on stage and in the auditorium, and that oil lamps were
employed to light what he called 'the scenes'.

17th century Italian stage lighting, as it developed in Venetian opera houses, was
described extensively in 1628 by Joseph Furttenbach, a German architect and scenic
designer who studied architecture and theatre design in Italy. Furttenbach describes
the use of footlights, winglights and lighting from above the stage, in addition to the
auditorium lighting that remained lit throughout the performance and contributed to
illumination of the downstage area. He gives accounts of four types of lighting
instruments used in the theatre. The 'glass oil lamp' which was hung above the stage,
the 'Mica reflector light' which was effective for winglights, the 'leaning light', used in
footlights, and the 'standing light box' which could be placed inside scenic units.