Faldoni, parts 2708 - 2711

 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.

 2709. 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 reddish brown.

 2710. 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.