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Grimes Original

Restoration of the Sistine Chapel

restorations
The frescoes on the ceiling of the Sistine Chapel had a series of interventions before restoration process that began in 1980. Initial problems with the ceiling seem to have been caused by water penetrating through the floor above. In about 1547 Paolo wrote Giovio the roof was damaged by salt and cracks. The effect of nitrate is to leave a white efflorescence. Gianluigi Colalucci, chief restorer of the Restoration Laboratory Paintings of papal Monuments, Museums and Galleries, states in his essay colors of Michelangelo rediscovered, that the Conservatives earlier this cosmetically treated by the application of linseed oil or walnut oil which had the effect of making more transparent crystalline deposit.
In 1625, a restoration was carried out by Simone Lagi, the gilder "resident", which got rid of the ceiling with linen and cleaning by rubbing with bread. From time to time resorted to dip the bread to remove More stubborn accumulations. His report states that the frescoes "were returned to their former beauty unharmed." Colalucci says Lagi " almost certainly "glue layers of varnish applied to revive the colors, but does not indicate this in his report, in order to" preserve the secrets of his [ship restorers ']. "
Between 1710 and 1713 for a full restoration was carried out by the painter Annibale Mazzuoli and his son. They used sponges submerged in Greek wines suggests Colalucci was necessitated by the accumulation of dirt caused by soot and dirt trapped in the fat deposits of the restoration. Then worked Mazzuoli on the roof, according to Colalucci, the strengthening of contrasts overpainting details. He also painted parts of the colors that were lost due to salt efflorescence. The areas of paint were incubated or treated with a linear stroke. [B] Colalucci Mazzuoli also states that applies a lot of glue varnish. The restoration focused on the roof and less attention is paid to the lunettes.
The penultimate restoration was done by the Restoration Laboratory of the Vatican Museum between 193 538. The scope the work was the consolidation of some areas of 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 experiments for the modern restoration began in 1979. The restoration team formed Gianluigi Colalucci, Maurizio Rossi, Piergiorgio Bonetti, and others that had the guidelines of the Regulations for the restoration of works of art as established in 1978 by Carlo Pietrangeli, director of the Laboratory of the Vatican for the Restoration of Images, which regulate the procedure and methods used in restoration. An important part modern restoration procedure, as established by these rules, is the study and analysis of artwork. Part of it was the recording of all stages the restoration process. This was done by photographer Takashi Okamura Nippon Television Network Corporation.
Between June 1980 and October 1984 the first phase of restoration, Michelangelo work on lunettes, was achieved. The focus of the work is then transferred to the roof, which was completed in December 1989 and from there to the Last Judgement. The restoration was presented by Pope John Paul II on April 8, 1994. The final stage was the restoration of the frescoes on the wall, passed in 1994 and released on 11 December 1999.
Objectives of the restorers
The objectives of the conservatives were:
To study the frescoes progressively, to analyze discovery and use appropriate technical responses.
To record each step of the transaction file reports, pictures and movies.
To use only the procedures and materials were simple, extensively tested, it is not prejudicial and reversible.
A Repair cracks and structural damage threatening the stability the cast.
To remove the layers of dirt that is candle wax and soot had been deposited by the burning of candles in the chapel of 500 years.
To remove previous painting of restorers who have tried to counter the effects of soot and other additions.
To remove oil and animal fats used to counteract salinization of areas where water had leaked through.
To remove accumulations crystalline salt had bleached areas where the water had filtering through.
A conservation of areas that were in danger of further deterioration due to the spread, and flaking.
To restore sympathetically areas where the deterioration of one kind or other details were deleted and the loss of integrity to the whole, for example, fill a bad crack in the plaster and paint color close to the original.
To keep in small defined areas of historic physical record previous restorations that had taken place.
Preparation and approach
The details of the expulsion from Eden shows the darkening of the color to black and white, cracks in plaster, metal studs previous stabilization, flow of water stains, salt deposits, darkening with salt and repainting.
This detail of the same section shows the brightness of color after cleaning. The major cracks and metal pins have been filled and colored to match adjacent areas. Small cracks are more visible, in contrast to the shiny surface. Salt rings are irreversible.
Colalucci In 1979 he undertook a series of experiments to find the right approach for the restoration of the frescoes in the Sistine Chapel. The investigation began analyzing small areas of the fresco on the wall, conflicts over the body of Moses by Matteo de Lecce, who had similar characteristics physical and chemical techniques used in painting the frescoes of Michelangelo. Tests to find the right solvent is continued in a small part of the orchestra and Eleazar begat Matthan.
Due to the height of the roof and the inaccessibility of the ceiling frescoes, the precise nature of the damage and problems that may be found by the restoration team can not be totally planned until after the decision to return was made, and the scaffolding was in place. According Colalucci, continued scientific analysis and restorative response to specific problems was an active part of the process, instead of the maintenance team to decide on single treatment for all parts of the building.
In 1980 the decision to undertake a full restoration was made. Nippon Television Network Corporation of Japan provided major funding from the U.S. $ 4,200,000 in exchange for filming rights.
Scaffold
The restaurant team completed the first phase catering, vertical surfaces and thin curves around the upper parts of the windows, aluminum scaffolding protruding from just below the lunettes and use the same holes in the wall that had been made to Michelangelo's scaffolding. When they moved to the roof, which also uses a system similar to Michelangelo involving a platform cantilevered outwards from the scaffolding to support a stepped platform and arched. The advantages of modern lightweight materials means that the platform can be of wheels to facilitate easy movement along the length of the building rather than removal and replacement, as Michelangelo had done in 1506.
State of fresh
The research results of 1979 is that the entire interior of the chapel, but the entire roof was covered with a grime of smoke from a candle wax understood, and soot (amorphous carbon). Above the windows (the main source of ventilation), the lunettes were particularly stained by smoke and exhaust gases of the city, where "a lot dirtier than the" appropriate limit. The building was a little shaky and had already changed considerably before the work Michelangelo 1508, causing cracks in the ceiling, cracks in the "Judith" scallops be so large that it had to be filled with bricks and mortar before painting. The upper limit of Michelangelo an uneven surface due to cracks and leaks.
continued inflow of water from the ceiling and hallways homeless field above the roof had caused the leak that led in sales of building mortar and deposited on the roof through evaporation. In some places this caused the fresh surface of the bubble and lift. While bleaching is a serious problem, it was bubbling, because the thinness and transparency the Michelangelo painting that used in most of the ceiling allowed to pass through instead of accumulating salts below the surface.
In early restorations had left all their brands fresh. To counteract the bleaching caused by salinization, animal fat and vegetable oil was applied, which effectively salt crystals made transparent, but it left a sticky film that collects dirt. An additional problem, most evident in the little cherubs holding plate with the name of the scallops, seeping through small cracks appearing as nitrate and dark rings on the surface. Unlike the white crystalline salt deposits, this does not can be removed and the staining was irreversible. The layers of varnish and glue had been applied to many areas. It had darkened and become opaque. Restorers had painted details on the dark areas in order to define the characteristics of the figures. This was particularly the case of the lunettes, spandrels and lower parts of the scallops.
Close examination reveals that, apart from the smoky deposits, deposits of infiltration and structural cracks, the thin "skin painting" of the frescoes of Michelangelo was in excellent condition. Miguel Angel Colalucci described as having employed the techniques best al fresco, as described by Vasari. Most of the painting was firmly attached and requires little editing. The plaster, or intonaco, in which the paintings were executed were found, mostly, to be sure, as previous restorers had set in places with bronze pins.
Interventions
Before the restoration, the team spent six months researching the composition and state of the frescoes, questioning members of the team that had restored the frescoes of the 1930s and make a detailed scientific study determine what solvents and methods were the best in particular painted surfaces.
A composite image of the fall and expulsion of Adam and Eva de Miguel Ángel. The top left is unrestored, the bottom right shows restored.
The first stage of the physical restoration was to return connect to any area of the surface of the plaster (which was approximately 5 mm thick) that were in danger of separation and rupture. This was done by injecting polyvinyl resin. A brass key principles that had been used to stabilize the surfaces were removed in places where they were causing cracking and fill the holes. Pigments that seemed to be well bonded consolidated with the application of diluted acrylic resin.
The restorers clean surfaces using a variety of solvents. Distilled water is used whenever possible to remove the soot and dissolve water-soluble gums. Touch up and paint that have been part of previous posterior restorations were removed with a solvent gel, applied in several stages for measured times, and washed with distilled water. salt efflorescence 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 subsequent washing.
Where some areas were retouched with watercolor painting to integrate the material. These areas are distinctively textured with vertical strokes, not visible from a distance, but easily discernible as the restoration work when viewed up close.
Some small areas were left unrestored, in order to maintain a physical record of previous restorations that had taken place, for example, an area left with repainting and wax, and another area that shows the attempt to counter salinization of oil.
Environmental protection of the frescoes
Once the many layers of wax candles, paint and animal glue were removed from the surface of the frescoes in the Sistine Chapel, which became subject to dangers that could not have been predicted by previous restorers.
One of the major dangers of the frescoes is automobile exhaust, and are also vulnerable to the effects of the multitudes of tourists who pass by the chapel every day, bringing the heat, humidity, dust and bacteria. Cleaning plaster surfaces are more at risk of these destructive elements than they were when they were covered with a layer wax smoke.
Previously, the only ventilation was the Sistine Chapel from their windows on the upper level of the walls. To prevent exhaust gases and pollutants transported by wind from the entrance, the windows are permanently closed and air conditioning system was installed. The installation can be done in the United Technologies Corporation and was developed with the collaboration of the Vatican Office of Technical Services. It is designed to counter specific problems of the Chapel, in particular, the rapid changes of heat and humidity that occur with the admission of the crowds of tourists every morning and the first departure from the previous visitors each evening. The air conditioning varies not only heat but also the relative humidity between summer and winter for the changes to the atmosphere environment occur gradually. The air near the ceiling is maintained at a level of mild weather, while air in the bottom of the building is cooler and runs faster, with effect that the dirt particles fall to the ground instead of being streamed upwards. The bacteria and chemical contaminants are filtered.
Environment:
Air filtration units: remove particles down to 0.1 microns
Air temperature: 20 º C in summer, dropping slightly to 25 º C in winter.
The relative humidity in the ceiling: 55% 5%.
Sensors: 92, of which about half are for backup purposes.
Wiring: 26 km (85,000 ft)
Response to restoring
Criticism and praise
When the restoration of the Sistine Chapel was announced, unleashing a barrage of questions and objections by art historians worldwide. One of the most vocal of these critics was James Beck of ArtWatch International has issued repeated warnings about the possibility of damage to the work of Michelangelo more strenuous restoration. One argument that was used on several occasions was that all previous interventions had caused damage of one kind or another. Any restoration, as opposed to conservation, threatening a work of art. Conservation, however, aid in the preservation of the work in its current state and preventing further deterioration. Beck has written about their concerns in the Art of Food, culture, Business and scandal.
Jeremiah lamenting the destruction of Jerusalem.
In the rhetoric of this conversation, [conservatives] say that the restoration earlier was not good now we have a very good one. It's like having a facelift. How many people pass by without your having poor appearance of a shell orange?
Ames Beck
While James Beck became "involved in a public debate" with Gianluigi Colalucci, Ronald Feldman, a merchant Art in New York, began a petition supported by 15 renowned artists such as Robert Motherwell, George Segal, Robert Rauschenberg, Andy Warhol, Christo and calling Pope John Paul II to end the procedure and also the restoration of the Last Supper by Leonardo da Vinci.
A commitment to the restoration team was that everything was going to be handled transparently, that journalists, art historians and others with an interest in good faith should have ready access to information and to view the work. However, one company, Nippon Television Network Corporation, had exclusive rights to photograph. Michael Kimmelman, chief art critic of The New York Times, wrote, in 1991, criticism of the restoration of the ceiling and lunettes was partly fueled by the reluctance of the Nippon Television Network to publish their photographs had taken for the exclusive right, which had recorded all stages of the process and were the only solid proof that the work is being done correctly.
According to Kimmelman, the reason for their reluctance to produce detailed pictures that could have put to rest the worst fears of many interested parties, was intended company to produce a limited edition two-volume coffee table book ("as big as a coffee table.") This book, when occur selling price of $ 1,000. Kimmelman refers to the fact that these photos were made available only for the few who could afford the prices exorbitant as "very generous" and "immoral."
As the work was completed gradually, some people were delighted, Pope John Paul II spoke after an inaugural homily each stage. In December 1999, after the completion of the frescoes on the wall, he said:
The prophet Ezekiel hears the voice of God
It would be difficult to find a more eloquent visual commentary on the biblical image of the Sistine Chapel, the full splendor we enjoy today thanks recently completed the restoration. Our joy is shared by the faithful throughout the world, who not only love this place because of the masterpieces that contains, but also for the role it plays in the life of the Church.
ope John Paul II,
Cardinal Edmund Szoka, governor of Vatican City, said: "This restoration and restorative experience allows us to see the paintings, as if we had the opportunity to be present when they were first introduced. "
An anonymous writer of Carrier, the company that helped the future conservation of the frescoes in the air conditioning was even more eloquent:
As an artist, Michelangelo was dependent on God has given light to create. 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 more fortunate, for millions of others in the past four and a half centuries have seen Michelangelo's frescoes of the Chapel through dark glasses. ...
The accumulated filth of centuries muted colors and clear details. It flattened the fresh and succulent off their curves. But thanks to an effort of a decade by the restorers of the Vatican, the mask has been lifted.
12]
Other writers were less flattering. The Andrew Wordsworth Independent, London, said the main point of interest:
There is no doubt that the ceiling of the Sistine Chapel was partly painted a secco (ie, once the plaster is dry), but the restaurant nevertheless decided that thorough cleaning was necessary, given the amount of dirt that had accumulated (including smoke from the candles). As a result, the roof now looks strangely discolored, with nice color but no flavor - an effect quite unlike that of Michelangelo's sculpture intensely sensual.
ndrew Wordsworth
This crucial issue was also emphasized by Beck and is defined in terms very clearly expressed in the website of artist Peter Layne Arguimbau.
Among the issues raised by critics
The part of the restoration in the Sistine Chapel that has caused the most concern is the ceiling painted by Michelangelo. The appearance of bright colors Ancestors of Christ in the darkness caused a reaction of fear that the processes used for cleaning were too severe. Despite warnings, the work on the roof and proceeded, according to critics such as James Beck, his worst fears were confirmed when the roof is finished.
The cause of dissent lies in the analysis and understanding of the techniques used by Michelangelo, and the technical response of the restorers to their understanding of these techniques. A detailed examination of the frescoes in the lunettes restaurateurs convinced that Michelangelo worked exclusively in buon fresco ", ie the artist worked only on freshly laid plaster and each section of the work was completed while the plaster was still in its fresh state. In other words, Michelangelo did not work "a secco", he returned later and add details on the cast dry.
Restorers, assuming that the artist took an approach universal painting, adopted a universal approach to restoration. It was decided that "all the shadow layer of animal glue and black carbon, all the wax, and repainting all areas of contamination were of one kind or another: deposits of smoke, previous restoration attempts and definition painted by restaurant later in the attempt to give life to the appearance of the work. Based on this decision, according to the critical reading of the data Arguimbau restoration has been provided, the chemicals of the restoration team decided on a solvent, which effectively limit of the strip until his painting impregnated plaster. After treatment, only to be painted "buon fresco" would remain.
Daniel, before and after restoration.
Critics say the inherent problem with this approach is that it relied heavily on the assumption that only Michelangelo painted buon fresco, which was satisfied always with the result at the end of the day, and that in four and a half years spent in the ceiling, she clung to an approach exclusively, and never made minor changes or clarifications provided. Arguimbau, on its website, meetings Colalucci, the team leader, as contradicting himself in this matter.
A summary of the statements Colalucci, in the order presented in the appendix titled Michelangelo's colors found in the following manner:
Restorers of age who had participated in the restoration of the 1930s were interviewed as part of the preparatory process. They claimed that Michelangelo worked on the frescoes a secco with glazes and varnishes as a binder. Colalucci refuses, saying that Michelangelo worked exclusively in the buon fresco. Colalucci then contradicts this by saying that Michelangelo had worked a secco, but " a minimum "and" not at all in the orchestra seats. "
Colalucci then speaks of "rigorous maintenance Michelangelo art buon fresco, contradicting this secco touches describing the fact that Michelangelo's shoulder and foot Eleazar Reboam, which are in the lunettes. Then he says that Michelangelo worked in buon fresco "no" adequate pentimenti (pentimenti means that changes) but only small corrections to cool.
The course has been criticism that the restorers presumed to know what the end result, the captain was trying to accomplish in each case separately through the roof, and which method is tried to reach him. Disagreements about this have been and are vociferous unresolved.
Carbon black problem
The restorers took for assume that all layers of fat and soot on the ceiling were the result of smoke from a candle. Contrary to this view, James Beck and many artists have suggested that Michelangelo carbon black used in a bath of glue to put on the dark shadows and sharp definition and a secco. If this is the case, then the biggest part was removed for restoration.
In some figures, however, there remains a clear evidence of carbon black paint. The apparent explanation for this is that over the long period Michelangelo was at work, it is likely that, for various reasons, changed his technique. Things that may affect the degree of finish on a particular giornata, that the heat and humidity of the day and the duration of daylight hours. Whatever the reason for this difference is a difference of approach in the light and shadow in the individual figures is clearly evident.
There are still areas of deep shadow that lay the Sibyl of Cumae relief. But more than a relief, is the three-dimensionality of the lovers expect to see art in the work of the man who sculpted Moses. Critics claim that this restoration was the target of Michelangelo and many fresh had established bright contrasting colors side by side that was working on a secco to achieve this effect and this is what has been lost by a too scrupulous cleaning.
Consistently missing the roof restored, is the clear a secco details of the architecture: the scallop shells, acorns and "strip and roll by Miguel Angel ornament that may have left for the conduct of an assistant, when he moved to the next panel. The treatment of these items varied considerably. In some places around the eardrum Hezekiah, for example, the architectural detail was painted buon fresco remain unaffected.
The various states of restoration post in two similar spandrels. In the left ear drum, black detail of the dresses, the eyes and the architecture is intact. In the right eardrum, these details are lost cleaning.
A comparison of two different states reveals spandrels posterior restorative. The left has shadows and sharp details in black. The green dress with yellow highlights has been washed and set with deep black shade. In the fictional architecture each motif is picked out in black. The child's eyes are outlined in black and white. The continued presence of these data suggests that they were completed while the plaster was wet. The eardrum looks rightfully unfinished. Before cleaning was also define the shades of black gowns and crisp detail in the architecture.
In the corner scallops, each representing a violent subject, the elimination of black carbon intensity has decreased dramatically in the four scenes. This is particularly noticeable in the loss of depth in the death of Haman. Where once the projected figure dramatically against the dark shadow of the interior, now foreshortened, the definition and the drama is lost in the monotony cake left.
Color
The curator, Fabrizio Mancinelli, cites the 18th century French traveler De Lalande in saying that the color of the roof was, at that time, monotonous, "tend [ing] to the" red and gray. Mancinelli writes that the restoration reveals "a new Michelangelo as a colorist and that this character" again makes much more sense of their position historic. "He goes on to say that viewers perceptual ceiling of the Sistine Chapel has always been aware that the color palette used is very different from you could see, and had the same pink, green apple, orange, yellow and pale blue that were used by the teacher of Michelangelo, Ghirlandaio, one of the competent painters of the Renaissance frescoes.
The bright palette should have been foreseen by the restorers as the same color appears in the works of Giotto, And Masolino Masaccio, Fra Angelico and Piero della Francesca, Ghirlandaio and himself and later fresco painters such as Annibale Carracci, Tiepolo. The reason for employment of this palette is that many other pigments can not be used fresh because they have chemical properties that react badly in the interaction with the wet plaster. The missing color is markedly from the ceiling of Michelangelo, but not the Last Judgement, is the intense blue of lapis lazuli. This color, made by crushing semi-precious stones, has always applied as a secondary stage secco, with gold leaf applied as halos and the decor to the gowns. [E]
Daniel's right hand and knee. In the fresh unrestored, deep red underpainting shows through the black light adding a secco washed into the shadows. The shape of the knee and leg under the garment is achieved by washing black. [F]
The appearance of the coloration was more unexpected was the treatment of Michelangelo from the shadows. The painting of the Libyan Sibyl and the Prophet Daniel, which are side by side, are exemplary. In the yellow dress of the Sibyl, Michelangelo bright yellow highlights, through carefully graded shades of yellow to orange pale, darker orange to red and almost in the shadows. While shades of red is itself unusual in a fresh, the gradation of the adjacent parts through spectrum is a fairly natural solution. Dressed as Daniel, no such smooth gradation. The yellow coating layer becomes a dense green sudden shadows while the mauve has shadows that are colored red. These color combinations are best described as iridescent, can be found in various places on the roof, including Young hose in the window Mathan that is 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 provides strong evidence that Michelangelo worked more than this figure in a wash of black smoke, and the technique was planned in advance. The bright red costumes used in the Libyan Sibyl and Daniel does not, by itself, creating effective shadows. In these and many other cases seems to have been conceived as underpainting, to be seen only by a thin black wash with shadows elected deeper more intense black, and they are still in the Sybil of Cumae. This use of bright contrasting colors such as underpainting is not a feature fresh common, but is commonly used in oil painting and tempera much. Like Daniel, turn yellow once the Libyan Sibyl was much more subtle in its folds and shadows of what we have now. [D]
Jonah restored. Much of the dramatic tone of the figure has disappeared in the cleaning, reducing the effect foreshortening.
There is absolutely no doubt that before the restoration, the entire roof was dirtier, more moderate and more monochrome Michelangelo had intention, but when the images are fresh in your state without restoring stained and washed definitions subtle and intense, described by Beck and Arguimbau still make their presence known, giving mass and volume to shapes.
The painter and biographer Giorgio Vasari in his Lives of the Artists, described the figure of Jonah as it appeared in the middle of the 16th century:
"So who is filled with wonder and amazement at the breathtaking view of Jonah, the last figure in the chapel? The natural dome springs forward, following the curve of the factory, but through the power of art is apparently straightened out by the figure of Jonah, tilts in the opposite direction, and so were defeated by the art of design, with its lights and shadows, but the roof seems to recede. "
The great figure of Jonah is of great importance to the overall composition, both pictorial and theologically, remains a symbol of the risen Christ. The figure occupies the rising scallops altar wall to support the vault, and tensions back, his eyes turned toward God. The foreshortening described by Vasari was innovative and influential painters to later. The cleaning of this significant figure has left some remains of the black shadow visible to the left of the painting. All the other less intense lines black and washes have been removed, reducing the impact of radical shortening, and also rob the big fish, the geniuses behind Jonah, figures and architecture much detail.
Eyes
The loss of a species that is considered "transvestite" by critics of the restoration. The eardrum Jesse, before and after restoration. The eyes are now missing, as in many other figures, especially among the ancestors. A key feature of many of the figures, the eyes appear many cases have been painted buon fresco. Wherever they have not been painted in buon fresco but added a secco, which have been removed by the restorers.
The depth is missing is not the only factor that critics complain. An important feature of the work of Michelangelo, in many places, gone forever is the painting of the eyeballs.
They are an essential part of the most impressive and famous of the frescoes, Creation of Adam. God looks at Adam. God looks directly at Adam. And under the protective arm of God, Eva turns her eyes from side to side in a look of admiration for her husband-to-be. Again and again, saying Michelangelo painted the spotlight on faces of his characters. Most of them seem to have been made as buon fresco and survived, but others do not. The eye sockets of the family in the lunette are Zerubbabel empty as the eyes of the man in the window Aminadab, but removing that has caused most critics disorders are the eyes of the little figure green and white that once looked out of the darkness above the rear window of Jesse.
Arguimbau says:
Did you ever feel that some things never fade and remain an inspiration for all time? That was the Sistine Chapel, now reduced chemically divine inspiration and looking terribly out of place. ... It is the duty of the conservator does not alter the artist's intention, but the scientist can not help it. Who cares if Colalucci discovered Michelangelo as a colorist and can explain the trends colorful Pontormo and Rossi. His job is to ensure that the thing is stuck on the existence and left undisturbed. In comparing before and after of the photos there is little evidence that eliminated Colalucci secco 'passages and left many surface areas and thin y. [Sic] test only one change of intention the artist is the neglect of which there are many.
rguimbau,
Richard sawdust, in an essay entitled The lies and failures, Gianluigi Colalucci Sistine Chapel Revisted says:
The [call] glorious restoration of the frescoes of Michelangelo's has been destroyed forever. What we say now you can not bring back to life. We can only talk undertaken to document accountability of the restorers of the Vatican not to go unrecognized.
ichard sawdust,
Restoration of light
Carlo Pietrangeli, Former Director General of the Vatican Museums, writes about the restoration: "It's like opening a window in a dark room and bright view." 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 shown be a beacon to our art, of inestimable benefit to 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 lunettes, but before the restoration of the roof, commends those who had the courage to initiate the restoration process, and thanks not only to those who visited the restaurant while I was up and gave the benefit of their expertise, but also those that were critical of the company. Pietrangeli was the recognition that these people spurred the team on the punctilious documentation so that a full report criteria and methods should be available for those interested in both the present and the future.
References
Footnotes
From the window Aminadab.
a. ^ In particular, the creation of Adam and the Fall of Man
b. ^ The emergence of the new paint badly damaged painted surfaces is consistent the practice of modern restoration.
c. ^ This photo is somewhat darker than the ceiling in fact appeared.
d. ^ The use of red underpainting or sepia frescoes was not unknown. It was used in the mantle of Jesus or the Virgin Mary had a request to secco lapis for a bright blue. See the fresh Giotto of the Nativity and the Resurrection of Lazarus in the Scrovegni Chapel.
e. ↑ According to Vasari, Michelangelo planned to work on the roof with ultramarine (Lapis lazuli) and gold, but never rebuild the scaffolding. When reminded by the Pope who had not been done, Michelangelo replied that people appearing on the roof were never rich.
f. ^ Two important changes or pentimenti, had taken Daniel gown, and are visible in the restored State: acute low fold horizontal edge of the green robe was painted with a secco, and a new straight edge carefully touched with the light to continue the line. The narrow band of purple gown had also been reworked a secco to a more elaborate form. These subtleties are all missing the cool restored. These and many other changes are among those identified by critics of the restoration as Beck.
References
Ab ^ John Shearman, the test of the chapel of Sixtus IV in the Sistine Chapel, ed. Massimo Giacometti (1986) Harmony Books, ISBN 0 517 56274 X
^ Massimo Giacometti, editor, The Sistine Chapel (1986) Harmony Books, ISBN 051756274X
^ University of Victoria student art, Queen's Quarterly, cited in: Osborne, John (February 11, 1998). Robert Fulford column on art restoration in Italy "in the direction of Pope John Paul II at the opening of renovated column fifteenth century fresco cycle in the Sistine Chapel. "Http://www.robertfulford.com/restore.html The Globe and Mail Robert Fulford on art restoration in Italy. Retrieved 28/09/2007.
^ Abcdefghijklmnop Gianluigi Colalucci test is Michelangelo's colors rediscovered in the Chapel Sistine, ed. Massimo Giacometti. (1986) Harmony Books, ISBN 0 517 X 56 274
^ Vatican Library, Vat. Capponiano 231, f 238 and Chigiana G. 66 III. f 108. by stated by Colalucci
Abc ^ Carlo Pietrangeli, Preface to the Sistine Chapel, ed. Massimo Giacometti. (1986) Harmony Books, ISBN 0 517 X 56 274
^ abcde test Fabrizio Mancinelli, Michelangelo at Work in the Sistine Chapel, ed. Massimo Giacometti (1986) Harmony Books, ISBN 0 517 X 56 274
^ "Homily preached by Pope John Paul II at the Mass to celebrate the inauguration of the restoration of Michelangelo's frescoes in the Sistine Chapel. "Vatican Publishing House. 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 09/28/2007.
^ Ab "Address of Pope John Paul II at the opening of the restored cycle fifteenth-century fresco in the Sistine Chapel." Libreria Editrice Vaticana. December 11, 1999. http://www.vatican.va/holy_father/john_paul_ii/speeches/1999/documents/hf_jp-ii_spe_11121999_sistine-chapel-inauguration_en.html. 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), cited by Colalucci.
^ Abc Carrier, United Technologies, the Sistine Chapel, Retrieved on 09/28/2007. NOTE: This page is no longer available.
^ James Beck and Michael Daley, Art Restoration, Culture, Business and scandal, WW Norton, 1995. ISBN 0393312976
^ Ohlson, Cristina (Fall 2002). "War of conservation." Oberlin Alumni Magazine 98 (2). http://www.oberlin.edu/alummag/oamcurrent/oam_fall2002/main_conservation_3.htm. Retrieved on 09/28/2007.
^ Grace Glueck, urged Stop Sistine work on "Last Supper" New York Times, accessed 03/06/1987 10/06/2007
^ 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 09/28/2007.
^ BBC News, the Sistine Chapel Restored 12/11/1999, accessed 10/06/2007
^ Andrew, Wordsworth (June 20, 2000). "Italy has art restorers clean your act?". The Independent. http://findarticles.com/p/articles/mi_qn4158/is_20000620/ai_n14304674. Retrieved 09/28/2007.
Ab ^ CDEFG Arguimbau, Peter Layne (October 5, 2006). "Michelangelo's Sistine Chapel cleaned." Arguimbau. http://www.arguimbau.net/article.php?sid=8. Retrieved on 09/28/2007.
^ Abcd "James Beck." ArtWatch. http://www.artwatchinternational.org/articles/index.asp. Retrieved on 09/28/2007.
↑ View Colalucci reference to the report of conflict.
^ Colalucci refers to this opinion in its annex above
^ As detailed in the article Arguimbau
Abc ^ Giorgio Vasari, Michelangelo's Lives of the Artists, (1568) translated by George Bull, Penguin Classics, (1965) ISBN 0 14044164 6
Abc ^ sawdust, Richard. "The lies and failures, Gianluigi Colalucci the Sistine Chapel Revisted "(PDF). http://mimsstudios.com/richardserrinarticle.pdf.
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