Faldoni, parts 2520 - 2523

 2520. “But the dull and almost washout tones of the earth pigments, when utilized on a huge scale are the perfect thing for wall decoration, because one never wants to overwhelm and confuse the eye with the intensity of the tones of the palate of colors available to the tempera painter.”

 2521. “Yes, obviously the strong saturated colors are only of use on a small scale of work, where the blank wall surfaces of the surrounding area absorb the loud clash of the intense color, and render it palatable.”

 2522. And so, for the huge vault of a grand church interior only fresco will do, as if nature itself understood that her subdued earth tones are the only ones for a gigantic decorative surface. And our Cimabue here has mastered the management of all these things.

2523. So visiting church dignitaries tried to outdo each other in their appreciation of the refinements of the art of painting. When Faldoni, having overheard these conversations, returned to his cell in the evening he began to ask himself if his flesh tones were lifelike, and if the overall effect of his various tints was harmonious or not.