The scenes in the music video can be described as understated, intimate and composed: Sfera raps with restrained gestures, either with his son Gabriel beside him or in his arms, or on his own. The song is reflective, after all, exploring the price of success, although it remains fairly superficial and adds little to an already recurring theme, apart from a line dedicated to his son: “I hope God protects me and keeps me away from evil / I hope this life doesn’t make my ex keep me away from Gabriel”. But the reason we are discussing it is that seeing a rapper in such a setting sparked considerable controversy. The CGIL trade union called it a mistake, stating that “this does not enhance cultural heritage; it devalues it”, and raising questions about renting a public asset to private parties. Sfera has been criticised for his explicit lyrics, ostentation, machismo and many other conventions of hip-hop that the wider Italian public has never fully understood. A separate mention goes to the recent uproar over his appearance at San Siro stadium surrounded by ten striking women, all dressed alike: another marketing stunt to draw attention to the new album. It must be said that some rap staples, such as the womanising rapper, have become outdated stereotypes and clichés, much like the story of the boxer fighting to turn his life around. Ultimately, getting to the heart of the matter, many people have wondered what the trap king and Leonardo da Vinci could possibly have in common.

Crespi explained his decision by saying he had accepted the proposal because of “the idea of democratising a work of art, making it accessible, letting people see it… I’ve read many comments on social media, and I must say that many young people who didn’t even know what the Cenacolo Vinciano was are now interested”. In an Instagram post, he adds: “Making cultural heritage accessible to everyone is one of the goals of a state museum, especially to audiences perceived as being furthest removed from art history”. Crespi also reveals that, in the coming weeks, “Sfera Ebbasta, together with the Museo del Cenacolo Vinciano, will support a series of special events dedicated to social inclusion [...] with details to be announced soon. Three unmissable opportunities, open to the city, to experience one of the iconic sites of our shared cultural heritage alongside one of the most acclaimed musical artists of his generation”. The initiative will therefore have a social dimension too.

Looking at Sfera Ebbasta as a whole, we can certainly say he has cultural significance. As an artist, his lyrics are not among the most profound, sophisticated or substantial, but he has been a gamechanger, an innovator who brought a new sound and attitude to the Italian music scene ten years ago: trap music. He played a decisive role in establishing this subgenre in Italy, with tangible effects on imagery, language, fashion and social customs, especially among young people. In doing so, he helped propel the Italian urban music scene to new heights of popularity, making rappers some of the best-known, wealthiest and most sought-after artists—a shift exemplified by their move from arenas to stadiums for concerts. Sfera first became a leading figure in Italy, then an international star, a leap that has always been difficult for Italian singers. He has sustained that status, becoming a symbol, a pop icon and a trendsetter with enormous influence both within his field and beyond it, across fashion, lifestyle, sport and more. It is no coincidence that the doors of the Cenacolo were opened to him following careful consideration by the museum’s management, whose decision drew on the influential precedent set by Fernanda Wittgens.

An art historian, critic and Italy’s first female museum director, Wittgens led the Pinacoteca di Brera during the post-war reconstruction period. Inspired by a trip to America, she began to imagine the Pinacoteca as a “living museum”: a welcoming cultural centre, a place for encounters, exchange and cross-pollination, making art accessible to everyone—young people, pensioners, factory workers and teachers. Soon afterwards, the Pinacoteca began hosting fashion shows, concerts and other events. This vision challenged those who regarded—and still regard—art as the preserve of a select few, drawing fierce criticism as a result.

In 1956, Wittgens launched “Fiori a Brera”, a week-long event that opened the Pinacoteca to the city’s residents and filled its rooms with large floral arrangements, supported in part by funding from the department store Rinascente, the initiative’s private sponsor. By the end of the event, attendance had reached a record 180,000. As director Crespi added on Instagram: “Like Wittgens, I envision a living museum and believe in the possibility of being truly inclusive and reaching every audience. Because we do not know who the ideal visitor will be, the person who will truly grasp the message. This does not mean devaluing our heritage, but rather elevating it into a means of inclusion. We must not worship the ashes, but preserve the fire passed down to us through this immense heritage. And have faith in it”.

There was a significant international precedent. In 2018, Beyoncé and Jay-Z filmed a music video inside the Louvre, in front of the Mona Lisa and other masterpieces. In that case, the video’s storyboard was more complex: a dialogue between contemporary Black culture and the Western art canon, with the finished work becoming a subject of academic study. Recognising an opportunity to engage visitors, the Louvre launched a dedicated trail featuring the artworks shown in the video. The French press reported that the museum was attracting younger audiences, with organised visits for young people from the suburbs drawing unexpectedly strong attendance and engagement. It brings to mind the art gallery scene in La Haine, and I picture Vinz, Hubert and Saïd standing before the Mona Lisa. Epic.

Ultimately, perhaps the question is not whether Sfera Ebbasta deserves to stand before Leonardo. That question rests on a flawed assumption: that access to cultural heritage must be earned, rather than made available to everyone. The real question is different: how far can a museum go in seeking new forms of expression and new audiences without turning its heritage into mere scenery? It is a fine line. As we have seen, Sfera is an influential figure whose reach translates into real numbers: young people who probably heard about the Cenacolo Vinciano for the first time through him. And so, yes, Sfera Ebbasta can become a starting point for discovering Leonardo da Vinci.