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The restoration of the Sistine Chapel

restorations
The frescoes on the ceiling of the Sistine Chapel had a series of speeches before the trial restoration began in 1980. problems with the ceiling seem to have been caused by water entering through the higher ground. In about 1547 Paolo Giovio wrote that the roof was damaged by salt and cracks. The effect is to leave a white salt efflorescence. Gianluigi Colalucci, curator in chief of the Laboratory of Restoration paintings of the monuments of Pope, museums and galleries, says in his essay on Michelangelo's colors found, the Conservatives earlier this cosmetic treatment an application of linseed or walnut oil which had the effect of making more transparent crystalline deposit.
In 1625, restoration was done by Simone Lagi, the gilder "resident", which has suffered the ceiling with linen rags and wiping clean with bread. Occasionally used to moisten the bread to remove persistent accumulations. His report indicates that fresh "were returned unprecedented beauty, receive no harm." Lagi Colalucci states that "almost certain" layers varnish applied glue to revive colors, but does not specify in his report, in the interest of "preserving the secrets of his profession [of] conservative."
Between 1710 and 1713 for a full restoration was carried out by the painter Annibale Mazzuoli and his son. They used sponges suggesting Colalucci Greek wine was necessary due to the accumulation of dirt caused by soot and dirt trapped in Hydrocarbon deposits earlier restoration. Mazzuoli then worked on the roof, according to Colalucci, strengthen contrasts with painted detail. They also painted some areas where the colors have been lost due to salt efflorescence. Areas born painted or treated with a linear stroke. States [b] Colalucci Mazzuoli also requested that a large amount of nail glue. The restoration focused on the ceiling and less attention has been given glasses.
The restoration was carried out by the penultimate Restoration Laboratory of the Vatican Museums 193 538. The scope of work is the consolidation of the parties the intonaco at the eastern end of the building and partially remove the soot and dirt.
Modern Restoration
The Sistine Chapel before restoration. [C]
The preliminary experiment for the modern restoration began in 1979. Restoration Team includes Gianluigi Colalucci, Maurizio Rossi, Piergiorgio Bonetti and others, who have taken its guidelines for the regulation of the restoration works of art created in 1978 by Carlo Pietrangeli, director of the Laboratory of the Vatican for the restoration of paintings, which govern the procedure and methods of restoration. A significant portion of modern restoration procedure, as established by these rules, is the study and analysis of the work. Part of this is the record of each stage of the restoration process. This was done by photographer Takashi Okamura Nippon Television Network Corporation.
Between June 1980 and October 1984, the first stage of the restoration of Michelangelo's glasses has been achieved. The focus of the work and then transferred toward the ceiling, which was completed in December 1989, and from there to the Last Judgement. The restoration was inaugurated by Pope John Paul II on April 8, 1994. The last step was the restoration of murals, approved in 1994 and released December 11, 1999.
Objective Conservative
The objectives of the conservatives were:
To study the frescoes of the scenarios to analyze the results and use of technical responses.
To record each step of the transaction file reports, photographs and films.
To use the procedures and materials that are simple, many tests, non-hazardous, and reversible.
To repair cracks and damage that threatened the structural stability of the plaster.
To remove dirt layers composed of candle wax and soot that were presented candlelit Chapel for 500 years.
To remove the paint by previous restorers who tried to counter the effects of soot and other benefits.
To remove oil and animal fats are used to combat salinity areas where water had flowed through.
To remove accumulations of salt crystal close the areas where water had flowed through.
Keep surfaces that were in danger of damage due to bubbles and peeling.
To restore the nice areas where deterioration of one sort or another had deleted the information and the loss of all integrity, for example, fill a crack plaster and paint a bad color corresponding to the original.
To preserve small defined regions, a record of physical recovery occurred earlier.
Preparation and approach
The details of the expulsion Eden shows the dark color to a black and white, plaster cracks, metal rods anterior stabilization, the color of water flow, salt deposits, obscuring nitrate and repainted.
This View information in the same section shows the brightness of color after cleaning. The cracks and the metal pins have been filled and colorful to match adjacent areas. Small cracks are more visible, in contrast to the shiny surface. Salt rings are irreversible.
1979 has Colalucci undertaken a series of experiments to find the right approach for the restoration of the frescoes in the Sistine Chapel. The investigation began by testing small Plate areas, the dispute over the body of Moses Matteo Lecce, who had similar physical characteristics and chemical use painting techniques of Michelangelo's frescoes. Attempts to find the right solvent is continued in a small part of the framework and Eleazar Matthan.
Due to the ceiling and the inaccessibility the ceiling frescoes, the precise nature of the damage and problems that might arise in the restoration team could not be fully anticipated that after the decision restore was done and the scaffolding has been established. According Colalucci, ongoing analysis and scientific answer to the particular problems of conservators has been a integral part of the process, instead of the maintenance team to decide on a single treatment for each part of the building.
In 1980, the decision to proceed with recovery Full issue. Nippon Television Network Corporation of Japan has provided significant funding from U.S. $ 4,200,000 in exchange for filming rights.
Scaffold
The restaurant team completed the first phase of restoration on vertical surfaces and curves in the top of the eardrum windows, scaffolding aluminum is projected just below the eye and use the same holes in the wall that had been done to scaffolding Michelangelo. When they moved to the roof, which is also uses a system similar to that of Michelangelo, which involved a platform cantilevered outward scaffolding to support a level platform and the Arc. The advantages of Modern lightweight materials means that the platform can be wheeled to facilitate easy movement throughout the building rather than removal and replacement of Michelangelo as made in 1506.
Fresh State
Results from the 1979 survey were that the interior of the chapel, but above the roof was covered with dirt and soot smoke candle wax containing carbon (amorphous). Above the windows (the main source of ventilation), glasses have been particularly colored smoke and exhaust the city is "dirtier though the roof itself. The building was a little shaky and had already evolved considerably to the work of Michelangelo in 1508, causing cracks in the ceiling, cracks in the "Judith" pendant so large that it has been filled with bricks and mortar before painting. The maximum Miguel Ángel an uneven surface due to cracks and leaks.
constant penetration of water from the roof and exterior corridors opened over the limit highest level that caused the leakage of salts carried by the mortar of building and deposited in the ceiling by evaporation. In some places this is the surface fresh to bubble and lift. While bleaching is a serious problem, not boiling, because the thinness and transparency Michelangelo used to paint most of the ceiling to pass the salt instead of accumulating beneath the surface.
restorations have left their mark on the frescoes. To combat money caused by salt, fat Animal and vegetable oil is applied is actually transparent salt crystals, but has left a sticky film that collects dust. An additional problem, more obvious in small cherubs boards have pendants, rings salt seeping through cracks are small and dark on the surface. Unlike deposits of white, crystalline salt, which can be removed and the color is irreversible. The layers of varnish and glue was applied to many areas. It had darkened and becomes opaque. Restaurant owners had painted the details in dark areas to define the characteristics of the figures. This was particularly the case for glasses, ears and the lower parts of the pendants.
A close examination reveals that, apart from the deposits of smoke deposits and infiltration of structural cracks, the thin "paint skin ", frescoed by Michelangelo was in excellent condition. Colalucci Michelangelo described as having the best techniques to cool workers, as described by Vasari. Most of the painting was well respected and held little editing. The plaster, or intonaco, in which the tables have been executed has been found mainly to be protected, such as previous restorers had settled in places with bronze pins.
Interventions
Before the restoration team spent six months investigating the composition and state of the frescoes, interviewing members of the team that restored the frescoes of the 1930s and make a detailed scientific study to determine what solvents and methods have been employed in the best including painted surfaces.
A composite image of the fall and the expulsion of Adam and Eve by Michelangelo. The top left is unrestored, the bottom right shows restored.
The first step was to link the physical restoration all areas of the plaster surface (which was about 5 mm thick) that were in danger of separation and rupture. This was done by injecting a polyvinyl resin. Bronze keys earlier, which was to stabilize the surfaces have been removed in places where they have been the effects of cracking, and fill the holes. Pigments that seemed to observe it were consolidated with the application of diluted acrylic resin.
Conservators cleaned surfaces using a variety solvents. Distilled water is used for remove any soot and dissolved in water soluble gums. Touch up and paint that have been part of previous restorations and then moved with a jelly solvent implemented in several stages for the measurement and washed with distilled water. salt deposits of calcium carbonate were treated by applying a solution of dimethylformamide. The last step was the application of a weak solution of acrylic polymer to consolidate and protect the surface and further washing.
Where appropriate, some regions have been retouched with paint, for integrated pictorial. These areas are typically texture with vertical buttons is not visible from a distance, but easy to discern that the restoration work when viewed up close.
Some small areas have been left unrestored to maintain a physical record of previous restorations took place, for example, an area left, and painted with candle wax, and other area show that attempts to combat salinization of oil.
fresh Environment
Once the layers of wax, paint and animal glue were removed from the surface of the frescoes in the Sistine Chapel, which were subjected to hazards that can not have been anticipated by previous restorers.
One of the main dangers for fresh automobile exhaust gases and are also vulnerable to the effects of multitude of tourists who pass through the chapel every day, bringing the heat, humidity, dust and bacteria. plaster surfaces clean longer in danger of these elements destructive than they were when they were covered with wax smoke.
Previously, the only ventilation was the Sistine Chapel from their windows on the walls of upper level. To prevent escape, and contaminants from entering the wind, the windows are permanently closed and air conditioning system was installed. Installation is the carrier of United Technologies Corporation and was developed in collaboration with the Office of Technical Services of the Vatican. It was designed to combat specific problems to the chapel, in particular the rapid evolution of heat and humidity that occur with the admission of the hordes of tourists every morning and the first exit of the last visitors every afternoon. The climate varies not only heat but the humidity between summer and winter for the changes in the atmospheric environment occur gradually. The air near the roof is kept in a temperate climate, while the air in the bottom of the building is cooler and runs faster, so that dirt particles fall the ground instead of being heard on the rise. The bacteria and chemical contaminants are filtered.
Environmental:
Air filtration units: delete particles down to 0.1 microns
Air temperature: 20 ° C in summer, is to move progressively to 25 ° C in winter.
Relative humidity in the roof: 55% 5%.
Sensors: 92, about half are backup purposes.
Wiring: 26 km (85,000 ft)
Response to restoring
Reviews and praise
When the restoration of the Sistine Chapel has been announced, caused an avalanche of questions and objections from art historians worldwide. One of the most outspoken critics of them was James Beck of ArtWatch International has issued repeated warnings about potential damage to the work of Miguel Angel Food too painful. An argument has been used repeatedly, is that all previous operations have caused damage of one kind or another. All restoration, as opposed conservation, is a work of art at risk. Conservation, however, support the preservation of working in their current condition and prevent further deterioration. Beck wrote about their concerns in the restoration of art, culture, issues and scandal.
Jeremiah lamenting the destruction of Jerusalem.
In rhetoric of that conversation, the conservative [] say that the previous restoration was not good now, we do a very good. It's like having a facelift. How many times can pass without their poor faces resembles an orange peel?
Ames Beck
While James Beck became "wrapped in a public debate with Gianluigi Colalucci, Ronald Feldman, a New York merchant of art, launched a petition backed by 15 renowned artists such as Robert Motherwell, George Segal, Robert Rauschenberg, Andy Warhol, Christo and calling Pope John Paul II to stop the procedure and the restoration of the Last Supper by Leonardo da Vinci.
A commitment with the team meal was that everything would be handled with transparency, which art historians and journalists, and others with an interest in good faith should have ready access to information and see the work. However, one company, Nippon Television Network Corporation, have rights single photograph. Michael Kimmelman, chief art critic of The New York Times wrote in 1991 that critics of the restoration of the roof and glass was fed in part by the reluctance of the Nippon Television Network to publish these photos they had taken exclusive right, which had recorded all the stages of the process and were the only solid proof that the work has been completed successfully.
According to Kimmelman, the reason for their reluctance to produce detailed images that could be put to rest the worst fears of most parties, it was the intention of the company to produce a limited edition large coffee table book in two volumes ("big as a coffee table). This book, when there are 1,000 retail U.S. dollars. Kimmelman refers to the fact that these photos were only available for the few who could afford the exorbitant as "generous" and "immoral."
As the work was completed gradually, there were those who were elated, Pope John Paul II spoke an inaugural homily after each step. In December 1999, after the completion of the murals, said:
The prophet Ezekiel hears God's voice
It would be difficult to find a more eloquent visual commentary on the image Bible of the Sistine Chapel, the full glory, we can enjoy thanks to the restoration just completed today. Our joy is shared by the faithful throughout the world, who not only love this place because her masterpieces, but also for the role it plays in the life of the Church.
Juan Pablo II OPE
Cardinal Edmund Szoka, governor of Vatican City, said: "This restoration and restorative experience allows us to see the paintings as if we had the good fortune to be present when they were first introduced. "
An anonymous writer for the carriers, the company that helped the future conservation of the frescoes installation of air conditioning was even more eloquent:
As an artist, Michelangelo depends on the data by God to create light. As observers, we depend on it for our vision of the greatness of the artist. Resident as we are in the final years of the 20th century, we are the lucky ones, millions of people in the last four and a half centuries have seen the frescoes of Michelangelo Chapel with smoke lenses. …
The dirt accumulated centuries muted colors and erase information. It flattened the frescoes and robbed them of their delicious roundness. But thanks to an effort of a decade-long Vatican restorers, the mask has been lifted.
12]
Other writers were less flattering. Andrew Wordsworth of The Independent, London, expressed his concern:
There is no doubt that the ceiling Sistine Chapel was painted a secco part (that is, once the plaster is dry), but nevertheless decided that the Radical restorative cleaning was necessary, given the amount of dirt that had accumulated (especially against the candle smoke). As a result, the roof is now a curious look washed with a nice color but no flavor – a fact very different from Michelangelo's sculpture intensely sensual.
Wordsworth ndrew
This crucial issue was also highlighted by Beck and very clearly defined in terms expressed in the website of artist Peter Layne Arguimbau.
The issues raised by critics
This part of the restoration of the Sistine Chapel that caused the greatest concern is the ceiling painted by Michelangelo. The emergence of the ancestors of Christ living in the shadow triggered a reaction of fear that the process its use in cleaning have been too severe. Despite the warnings, the work on the roof and the process, critics such as James Beck, his worst fears were confirmed when the roof is completed.
The cause lies in the dissent analysis and understanding of the techniques used by Michelangelo, and the technical response of restaurants their understanding of these techniques. Fresh careful eye examination convinced that Michelangelo worked exclusively restorers in the buon fresco "that is, the artist has worked exclusively on freshly laid plaster and each section of the work was completed while the plaster was still fresh. In other words, Michelangelo did not work "A secco" not come back later and add details on the cast dry.
Conservative, assuming that the artist has taken a universal approach to painting, he has adopted a universal approach to restoration. The decision was made "whole layer lampshade black and animal glue, all the wax, and all areas have been contamination painted kind or another: deposits of smoke, and previous attempts to restore the definition by the restorers painted late to try to look happy of the work. Based on this decision, according to the critical reading recovery Arguimbau data provided, the chemicals of the restoration team decided in a solvent, which would deprive the ceiling plaster impregnated his painting. After the treatment, which was painted buon fresco "are retained.
Daniel, before and after restoration.
Critics said the problem inherent in this approach is that it relied heavily on the assumption that Michelangelo painted Buon fresco, has always been satisfied with the result at the end of the day, and that in four and a half years spent on the roof, he stuck exclusively to a single approach, and was never small changes or clarifications. Arguimbau on its website, citing Colalucci, the head of the team that are contradictory.
A summary of relevant statements Colalucci the order they appear in the annex entitled Michelangelo's colors are found as follows:
Conservative elders who had participated in the restoration of the early 1930 were interviewed in the preparatory process. They argued that Michelangelo worked in fresco secco using Velatura glaze or a notebook. Colalucci refuses, saying that Michelangelo worked exclusively in Buon fresco. Colalucci then counter by saying that Michelangelo had worked secco, but "minimum level" and "not at all in the glasses."
Colalucci interviews then Michelangelo rigorous maintenance "of Buon fresco technique, contradicting secco describe issues that Michelangelo did Eleazar Reboam shoulder and foot, which are both in the glasses. Then he told me that Michelangelo worked buon fresco "no" good repentance (repentance means change), but only small corrections to cool.
The current review has meant that the restorers what result the teacher tries to achieve in all cases other than through the roof, and by what method was intended to achieve. The disagreement on this issue have been and are noisy without solve.
Problem of carbon black
The Conservatives have assumed that all layers of grease and soot on the roof have been the result of smoke from a candle. Contrary to this opinion, James Beck and many artists have suggested that Michelangelo used carbon black in a bowl of glue to put on dark shades and crisp secco definition. If this is the case, then the largest party was eliminated in the restoration.
In some of these figures, however, remains a clear evidence of the painting black carbon. The apparent explanation for what is the long period of time that Michelangelo was at work, chances are, for various reasons, varied his technique. Things that could affect the level of finish on a giornata includes heat and humidity of the day and time of day. Whatever is the reason for the difference, a difference Focus on the shadow and light in the individual figures is clearly evident.
There remain many areas of shadow cast by the Sybil of Cumae in relief. But it is more relief, is the art lovers in three dimensions waiting to see the work of the man who sculpted Moses. Critics of the application for restoration as was planned by Michelangelo and many fresh, bright color contrast was set at the side of those who have worked a secco to achieve this effect and that is what has been lost by cleaning too scrupulous.
Consistently missing roof is crisp secco restored architectural details: the scallop shells, pearls and tassels and reel "of Michelangelo motif might have ceased to be completed by an assistant when he moved into the next panel. The processing of such information vary considerably. In some places the threshold of Hezekiah, for example, retail architecture has been painted buon fresco remain unaffected.
The different states restoration in two ears similar position. In the left ear drum, dressed in black detail, eyes, and the architecture is intact. In the right eardrum, these details were lost in cleaning.
A comparison of the two ears shows the different states of restoration jobs. The left has shadows and details are complete in black. The green dress with yellow washed with black highlights and shadows define. The architectural design is chosen each black fictitious. The child's eyes are detailed black and white. The continued presence of this information suggests that they have fulfilled, while the plaster was wet. The eardrum has a right to be continued without end. Before cleaning the definition also the dark shadow of clothing and the smallest details of architecture.
Hanging in the corner, each representing an individual violent Carbon black removal decreased the dramatic intensity of the four scenes. This is particularly noticeable in the loss of depth in the death Aman. When planned figure clearly against the inside dark and gloomy, now reduced, the definition and the drama is lost in the monotony remaining cake.
Color
The curator, Fabrizio Mancinelli, cites the 18th century French traveler De Lalande, saying the color of the roof was, at that time, monotonous, "ING tend [] to" Red Gray and boring. Mancinelli says that the restoration reveals "a new Michelangelo" in As colorful and that history is "logic of his new position much better. "He goes on to say that viewers perception Sistine Chapel ceiling has always been aware that the color palette used is very different from what might be seen and understood, including roses, green apples, oranges, yellows and pale blues that were used by Professor Miguel Angel, Ghirlandaio, one of the painters more competent Renaissance frescoes.
The range of bright colors should have been foreseen by the restorers of the same color appears in the works of Giotto, And Masolino Masaccio, Fra Angelico and Piero della Francesca, Ghirlandaio's fresco, as well as himself and later as Annibale Carracci, Tiepolo. The reason for using this range color, is that many other pigments are not used in the mural that have chemical properties that react badly to the interaction with the wet plaster. The color is remarkably absent in the ceiling of Michelangelo, but not the Last Judgement, is the intense blue of lapis lazuli. This color, which is obtained by grinding the semi-precious stones stones, has always been applied as a secondary measure Secco, gold leaf and applied as halos and clothing decoration. [E]
Daniel's right hand and knee. In the fresh unrestored, the sub-layer shows deep red through the addition of luminescence secco black wash in the shade. The shape of the leg below the knee and clothing are performed by washing black. [F]
The aspect of color that was most unexpected was the treatment of Michelangelo from the shadows. The painting of the Libyan Sibyl and the Prophet Daniel, they are side by side, are exemplary. In the dress yellowing of the Sibyl, Michelangelo stands out bright yellow, through shades carefully graduated bright yellow to orange pale orange to dark red and almost shadow. While shadows are unusual in a red mural, the progression in adjacent parts solution spectrum is quite natural. Daniel dresses, there is no gradation so sweet. The lining of the dense green yellow jacket sudden shadow, while a purple shadows they are a deep red. These color combinations are best described as iridescent, are in different places on the roof, including the hose young man with glasses is Mattan pale green and reddish purple.
In some cases, combinations of bright colors look: this is particularly the case with the prophet Daniel. A comparison of the "restoration" and "unrestored figure" suggests that Michelangelo worked on this figure in a wash of black carbon, and the technique has been planned. The red used on dresses Daniel and the Libyan Sibyl not, by itself, creating effective shadows. In these cases and in many others, seems to have been designed as an underlayment to be seen only by a layer thin and black with deep shadows and resumed more intensely black, mainly because they are in the Sybil of Cumae. This use of contrasting colors and a sub-layer is not is a common feature of the frescoes, but is commonly used in oil and tempera paintings both. Like Daniel, Libyan Sibyl yellow dress, once it was much more subtle in its folds and shadows that now. [D]
Jonah restored. Much of the dramatic tone the figure has disappeared in the cleaning, reducing the effect of foreshortening.
There is absolutely no doubt that before the restoration, while the roof was dirtier, more discreet and more black and white that Michelangelo never expected, but when the images of the frescoes are considered in their state and restored stained and intense lava subtle definitions, described by Beck and Arguimbau, still being felt their presence, which gives the mass and bulk forms.
The painter and biographer Giorgio Vasari in his Lives of the artists, describes the figure of Jonah as appeared in the mid 16th century:
"So do not be full of wonder and amazement at the breathtaking view of Jonah, the last digit of the chapel? Naturally Dome Spring forward, following the curve of the factory, but by the power of art, is apparently corrected by the figure of Jonah, which is in the opposite direction, and and overcome by the art of design, with its lights and shadows, the ceiling seems very backward. "
Jonas is the great figure of great importance to the overall composition both living and theology, are the symbol of the risen Christ. The figure takes the pendant from the altar wall to support the roof, strains and back, eyes turned God. The shortcut was described by Vasari innovative and influential painters in the afternoon. The cleaning of this important figure has left some traces of the black shadow visible in the extreme left of the painting. All other, less intense, and wash the dark lines have been removed, reducing the impact of radical reconciliation effect, and also steal from the big fish, the geniuses behind Jonas, and figures of many architectural details.
Eyes
The loss of a species that are considered "false" by critics of the restoration. The eardrum Jesse, before and after restoration. The eyes are now missing, as are many other characters, especially among the ancestors. A feature of the dominant figures appear in the eyes of many cases have been painted in buon fresco. Wherever they have not been painted in fresco Buon, but added a secco, who have been abducted by restorers.
The depth is lacking is not the only factor that critics complain. A feature important work of Michelangelo, in many places, has disappeared forever painting the eyeballs.
They are an essential part of the most impressive fresco and famous, The Creation of Adam. Adam looks at God. God looks directly at Adam. And under the arm of God's protection, Eva turns her eyes on the surface at a glance admiration for her husband to be. Again and again, Michelangelo painted that looks on the faces of his characters. Most of them seem to have been made as buon fresco and survived others do not. The orbits of the family in the bezel Zerubbabel are as empty as the man's eyes on the bezel Aminadab, but the withdrawal has caused the most distress to the eyes of Critics are a small figure in green and white, once considered by the darkness beyond the reach of Jesse.
Arguimbau said
Have you ever felt Some things never fade away and remain a source of inspiration for all time? It was the Sistine Chapel, now chemically stripped of divine inspiration research and outrageously out of place. … It is the duty of the curator does not change the mind of the artist, but the scientist can not help it. Who cares if discovered Colalucci Michelangelo as a colorist and may explain the trends of Pontormo and colorful Rossi. His job is to ensure that something is stuck there and leave him alone. Comparing images before and after there is evidence that many Colalucci removed secco "short passages and left many areas and thin. evidence [sic] of a simple change of intention the artist is negligence are numerous.
rguimbau,
Richard sawdust, in an essay entitled The Lies and misdemeanors, the Sistine Chapel Gianluigi Colalucci Revisted says:
The [alleged] glorious restoration of Michelangelo's frescoes have been destroyed forever. What we say today can not return to life. We can not discuss the document in the responsibility Vatican restorers to not go unnoticed.
ichard sawdust,
Restoration of light
Carlo Pietrangeli, former head of the Vatican Museums, wrote about the restoration: "It's like opening a window in a dark room and see it flooded with light." His words resonate with those of Giorgio Vasari in the 16th century, said the ceiling of the Sistine Chapel:
There is no other work to compare with this for excellence … The ceiling has been a true beacon of our art, the advantage valuable of all painters, restoration of light to a world that for centuries had been plunged into darkness.
Pietrangeli, in his preface to The Sistine Chapel, written after the restoration of the telescope, but before the restoration of the roof, welcomes those who have had the courage to start the restoration process Please, not just those who have visited the restaurant while he was in motion and gave the benefit of their knowledge and experience but also those who have been critical of the company. Pietrangeli is recognized that these people led the team to meticulous documentation of a report Complete the criteria and methods should be available to interested in the present and the future.
References
Notes
From Aminadab bezel.
a. ^ In particular, the creation of Adam and the Fall of Man
b. ^ The outbreak of the painting severely damaged painted surfaces is consistent with the practice of modern restoration.
C. ^ This picture is a bit darker than the ceiling seemed really.
d. ^ The use of burlap in the fresh red or sepia was not unknown. Was commonly used when the mantle of Jesus or the Virgin Mary was secco a request for the bright blue lapis lazuli. See Giotto's frescoes of the Nativity and the Resurrection of Lazarus in the Scrovegni Chapel.
e. According ↑ Vasari, Michelangelo was to work on the roof with ultramarine blue (lapis lazuli) and gold, but never had time to reassemble the scaffolding. When reminded by Pope has not been the case, Miguel Angel replied that the people who appear on the roof have never been rich.
f. ^ Two notable changes, or remorse, it taken to clothe Daniel, and are visible in the state without restoring: Sharp small horizontal wrinkles on the edge of the green dress she had painted a Secco, and a new edge Straight carefully touched by the light to continue the line. The narrow band of purple dress has also been reworked a secco a more elaborate form. These subtleties are all Plate missing restored. These and many other changes are among those mentioned by critics of the restoration as Beck.
References
Ab ^ John Shearman, proof of the chapel of Sixtus IV in the Sistine Chapel, ed. Massimo Giacometti (1986) Harmony Books, ISBN 0 517 X 56 274
^ Massimo Giacometti, chief director of the Sistine Chapel (1986) Harmony Books, ISBN 051756274X
^ University of Victoria student art at Queen's Quarterly, as cited in Osborne, John (February 11, 1998). Robert Fulford's column on art restoration in Italy "Address of Pope John Paul II at the opening of the restored 15th century cycle of frescoes of the Sistine Chapel." The Globe and Mail http://www.robertfulford.com/restore.html column by Robert Fulford on art restoration in Italy. Retrieved on 28/09/2007.
Gianluigi Colalucci ABCDEFGHIJKLMNOP ^ test, the colors of Michelangelo in the Sistine Chapel restored, ed. Massimo Giacometti. (1986) Harmony Books, ISBN 0 517 X 56 274
^ Vatican Library, Vat. Capponiano 231 f 238 and III G. Chigiana 66. f 108. as reported by Colalucci
Abc ^ Carlo Pietrangeli, Preface to the Sistine Chapel, ed. Massimo Giacometti. (1986) Harmony Books, ISBN 0 517 56274 X
^ Abcde dissertation Fabrizio Mancinelli, Michelangelo at work in the Sistine Chapel, ed. Massimo Giacometti (1986) Harmony Books, ISBN 0 517 56274 X
^ Homily preached by Pope John Paul II celebrate Mass for the inauguration of the restoration of Michelangelo's frescoes in the Sistine Chapel. "Libreria Editrice Vaticana. Http: / / www.vatican.va/holy_father/john_paul_ii/homilies/1994/documents/hf_jp-ii_hom_19940408_restauri- sistina_en.html April 8, 1994 .. Retrieved on 28/09/2007.
^ AB "Address of Pope John Paul II in the opening of the renovated fifteenth century http://www.vatican.va/holy_father/john_paul_ii/speeches/1999/documents/hf_jp-ii_spe_11121999_sistine-chapel-inauguration_en.html fresco in the Sistine Chapel. "Libreria Editrice Vaticana. December 11, 1999 .. Retrieved on 09/28/2007.
^ Pietrangeli, Hirst and Colalucci, eds. The Sistine Chapel: a glorious restoration, (1994) Harry N Abrams, ISBN 0 810 98 176 9
^ Milanesi ed. Vasari, Vite … Book I, Chapter V, p. 182, ed. Milanesi, Florence (1906) Colalucci quoted.
Abc Carrier, United Technologies, the Sistine Chapel Retrieved on 28/09/2007. NOTE: This page is no longer available.
^ James Beck and Michael Daley, restoration of art, culture, business and the horror of WW Norton, 1995. ISBN 0393312976
^ Ohlson, Cristina (Fall 2002). The wars of conservation. Oberlin Alumni Magazine 98 (2). http://www.oberlin.edu/alummag/oamcurrent/oam_fall2002/main_conservation_3.htm. Retrieved on 28/09/2007.
^ Grace Glueck, the strike was called for in the Sistine Chapel and the "Last Supper" New York Times, accessed 06/03/1987 06/10/2007
^ Kimmelman, Michael (December 8, 1991). "Finding God in a double fold. The New York Times. Http://query.nytimes.com/gst/fullpage.html?res=9D0CE0DE133FF93BA35751C1A967958260&sec=&spon=&pagewanted=1. Retrieved on 28/09/2007.
^ BBC News, 11/12/1999 restored Sistine Chapel, accessed 06/10/2007
^ Andrew, Wordsworth (June 20, 2000). "Restaurateurs Italy have balanced their accounts? ". The Independent. Http: / / findarticles.com/p/articles/mi_qn4158/is_20000620/ai_n14304674. Retrieved 28/09/2007.
^ Ab CDEFG Peter Layne Arguimbau (October 5, 2006). "Michelangelo's Sistine Chapel cleaning. Arguimbau. Http://www.arguimbau.net/article.php?sid=8. This Retrieved on 28/09/2007.
Abcd ^ "James Beck." ArtWatch. http://www.artwatchinternational.org/articles/index.asp. Retrieved on 28/09/2007.
^ See reference to the report Colalucci contradictory.
^ Colalucci refers to this opinion in its annex above
^ As detailed in Article Arguimbau
Abc ^ Giorgio Vasari, the living artists Michelangelo, (1568) Translated by George Bull, Penguin Classics, (1965) ISBN 0 14044164 6
Abc ^ sawdust, Richard. "The lies and failures, Gianluigi Colalucci Sistine Chapel Revisted "(PDF). Http: / / mimsstudios.com / richardserrinarticle.pdf.
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