Plate 34.—The Fire in the Borgo
Raffaelle, Stanza dell’ Incendio, Vatican, Rome
Photo. Braun, Clément et Cie.
Plate 35.—Figure of Adam, from The Creation of Man
Michael Angelo, Sistine Chapel, Vatican, Rome
and paint as well, so leaving this portion in a clean-looking or light state; and if we bear in mind that the background work has in all probability been painted much more thinly, or with less impasto, than the figures, we can easily imagine that in the parts under notice there has always been less body of colour to be destroyed by the cleaners. It is also noticeable that where a blue or grey colour has been used in the draperies, the painting of such parts has badly perished, which suggests that either a vegetable or a copper-blue pigment has been used, instead of a cobalt or an ultramarine blue, or that these parts have been afterwards repainted in tempera. The other frescos in this room, the “Mount Parnassus,” and the “Prudence, Fortitude and Temperance,” are in a much better state than the “School of Athens.”