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“The Story of the Man Who Whitened His Face”: Bernini, Galileo, and the Science of Relief

This essay argues that Bernini orchestrated the relief surfaces of his sculptures through an exacting science of optical perception. It connects his understanding of the relief structure of his sculptural work to Galileo’s contemporaneous discovery of the cratered surface of the moon to contend that art and science shared similar concerns in the visual analysis of relief perceived as patterns of light and shadow. Through a full contextualisation of one of Bernini’s many workshop aphorisms, about a man who whitened his face, it demonstrates the scientific, art-theoretical, and practice-based considerations that informed Bernini’s understanding of optics in the sculptural rendering of facial likeness through the medium of white marble.