2708. I realize that at this point I am trying to explain extremely minute and peculiar details of the art of painting in the time of Faldoni. It is like I have a microscope, and I am looking into tiny details and considerations of what it was our hero was doing. Meanwhile, all the time I am trying to find a way to describe such tiny details, gigantic earth-shaking events like an earthquake, are about to occur in Faldoni’s life.
Faldoni, the Master, and all of the apprentices are about to be
arrested by the ecclesiastical authorities and they are going to be put
on trial for blasphemy. These events are going to disrupt Faldoni’s life
to such an extent that I will no longer be able to bore you with
considerations of how a color such as blue can be tinted with a tiny bit of
green to make it more comfortable as it sits next to some shade of
The tints of various colors seem of hardly of any importance when a man
is being questioned by Jesuitical inquisitors and the answers to the
questions he is asked will determine whether or not he is going to be
burned at the stake.
2711. But still, even though I am worried about Faldoni’s fate, and I am extremely anxious to tell you about why and how he was brought before the inquisition, still I can’t help but tell you about this business of adjusting blue so that it looks better next to a shade of orange. I know it is trivial under the circumstances, but I just can’t help myself.