ABSTRACT
This chapter illustrates the colour universe, born and fully structured in Italy that by Shakespeare's time had become orthodox throughout Renaissance Europe. Based on the binary opposition of white and black, light and darkness, this hierarchically structured universe reflected the Christian and Neoplatonic worldview developed in Italy, and formed the basis of most Italian and European artistic production. The chapter considers Shakespeare's peculiar use of colour and light imagery, demonstrating that, in opposing the traditional Italian model. Shakespeare's revolutionary approach to chromatic values appears to be quite similar to that of Bruno and Caravaggio. Caravaggio's innovative use of light and colour thus appears to represent the core of both of his great innovations: his 'naturalism' and his non-hierarchical universe. The symbolism of Christian theology is at the core of the Renaissance chromatic paradigm. After illustrating the traditional European outlook, born in Italy, the chapter will show how the colour symbolism associated with it was called into question.
