Buboni, Lost In The Woods, parts 212 - 215

Richard Britell June 6, 2012

212. By 1975 the Vatican had set up a fellowship at the University to provide funds, a workshop, and time and working materials and in exchange the University made specific copies at the Church's request, and so gradually the most famous pieces were replaced with excellent copies.

213.  The church did not publicize these changes, and no one noticed them,  for one simple reason, the modern tourist has usually never seen the original, and the original was never illuminated by electric lights. When the modern-day tourist, or art historian stands in front of an old master painting and puts a coin into a slot to turn on the blazing electric lights, he is lucky to emerge without serious damage to his retinas, and he will have little recollection of the painting he was attempting to view.

214. At the end of the article about the consequence of the Lazlio Toth attack was a long list of the paintings the Vatican had replaced with reproductions, third on the list was one Raphael, replaced in 1974, which was of great interest to Thomas Aimes for his article on Buboni.

215. This Raphael, "Madonna and Child", the vary same painting that Buboni claimed was the beginning of his "Theory of Historical Distructivism."