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Wallace also provides additional arguments regarding other assistants who stayed to help Michelangelo, as well.
Since there is presently no way to go back in history to actually see who did the work on the ceiling or what it actually looked like when completed, these questions about color and help from assistants will remain indefinitely. The questions that the critics raise, however, should be faced when considering restoration of other work in the future. Is it better to leave well enough alone, although with time the artwork will eventually wear away? Or is it better to restore the artwork with the fear that it does not look like the artist's original? As can be seen by the controversy that continues to rage on about this topic,...
The Final Layer: 'L'ultima mano' on Michelangelo's Sistine Ceiling. Art Bulletin, LXX, 1988, 503.
Beck, James Art Restoration: The Culture, the Business, and the Scandal. New York W.W. Norton & Company, 1993
Harris, Judith. Debating a Vatican Cover Up. Art News (2010) 109.1, 1572-85
Hoeniger, Catherine. The controversy surrounding the cleaning and conservation of Michelangelo's frescoes on the ceiling of the Sistine Chapel. The Cambridge Companion to Raphael (Marcia Hall, Ed.), Philadelphia: Temple University, 1994.
Wallace, William. The Sistine Chapel. Seattle:…
References Cited
Beck, James. The Final Layer: 'L'ultima mano' on Michelangelo's Sistine Ceiling. Art Bulletin, LXX, 1988, 503.
Beck, James Art Restoration: The Culture, the Business, and the Scandal. New York W.W. Norton & Company, 1993
Harris, Judith. Debating a Vatican Cover Up. Art News (2010) 109.1, 1572-85
Hoeniger, Catherine. The controversy surrounding the cleaning and conservation of Michelangelo's frescoes on the ceiling of the Sistine Chapel. The Cambridge Companion to Raphael (Marcia Hall, Ed.), Philadelphia: Temple University, 1994.
Michelangelo's Sistine Chapel This work has been and truly is a beacon of our art, and it has brought such benefit and enlightenment to the art of painting that it was sufficient to illuminate a world which for so many hundreds of years had remained in the state of darkness. And, to tell the truth, anyone who is a painter no longer needs to concern himself about seeing innovations and
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