by Ross King
9 Sir Joshua Reynolds, Discourses on Art, ed. Robert R. Wark (San Marino, Calif.: Huntington Library, 1959), p. 278.
10 Camille Pissarro, Letters to His Son Lucien, ed. John Rewald, 4th edn (London: Routledge & Kegan Paul, 1980), p. 323.
11 For these restorations, see Gianluigi Colalucci, ‘Michelangelo’s Colours Rediscovered’, pp. 262–4. For a sceptical view of Colalucci’s interpretation of these restorations, see Beck and Daley, Art Restoration, pp. 73–8.
12 For reports on this project of restoration, see Colalucci, ‘Michelangelo’s Colours Rediscovered’, pp. 260–5; Carlo Petrangeli, ‘Introduction: An Account of the Restoration’, in de Vecchi and Murphy, eds, The Sistine Chapel: A Glorious Restoration, pp. 6–7. For a history of the restoration, together with its financial motives and cultural implications, see Waldemar Januszczak, Sayonara Michelangelo: The Sistine Chapel Restored and Repackaged (Reading, Mass.: Addison-Wesley, 1990).
13 The case against the restoration is made most comprehensively in Beck and Daley, Art Restoration: The Culture, the Business and the Scandal, pp. 63–122. For responses to objections raised by the critics, see Kathleen Weil-Garris Brandt, ‘Twenty-five Questions about Michelangelo’s Sistine Ceiling’, Apollo (December 1987), pp. 392–400; and David Ekserdjian, ‘The Sistine Ceiling and the Critics’, Apollo (December 1987), pp. 401–4.
14 See Beck and Daley, Art Restoration, pp. 119–20.
15 On this matter, see note 12 on p. 312.
16 On the ‘new Michelangelo’ exposed by the cleaning project, see Januszczak, Sayonara Michelangelo, especially pp. 179–89.
17 Johann Wolfgang von Goethe, Italian Journey, trans. W.H. Auden and Elizabeth Mayer (London: Penguin, 1970), p. 376.
Acknowledgements
I wish to thank Professor George Holmes and Dr Mark Asquith, both of whom generously took the time to read the manuscript and offer comments and advice. My agent, Christopher Sinclair-Stevenson, likewise read manuscript drafts and provided his usual doses of enthusiasm and support. Christiana Papi assisted with several translations from sixteenth-century Italian. My brother, Dr Stephen King, doggedly hunted down and photocopied some elusive library material for me, and Reginald Piggott provided the maps and drawings. Lynne Lawner, thanks to a chance conversation, guided me to sources I would not otherwise have discovered. My editor, Rebecca Carter, deserves special mention. She encouraged the project from the outset and then steered it with patience and expertise through numerous drafts to completion. I also wish to thank my American editor, George Gibson, for his assistance and support.
I must also thank the curators and staff of the following institutions: the Bodleian Library; the British Library; the London Library; the Taylor Institution Library of Oxford University; and the Western Art Library of the Ashmolean Museum, now housed in the elegant new surroundings of the Sackler Library.
Finally, I wish to thank Melanie Harris, among numerous other reasons, for her companionship in Florence and Rome.
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