Faldoni, parts 2892 - 2895

 2892. Faldoni had mentioned to the master painter that the ultramarine was ready, but the master at that time was intensely involved in painting the face of Mary Magdalene at the foot of the cross. The very idea that Faldoni would disturb him at such a moment was an outrage to the master’s delicate sensibilities.

 2893. I wish you could have seen the master painter as he painted the portrait of The Magdalene. She was on her knees looking up  and her face was bathed in tears, and the master painter was so moved emotionally as he painted her tears that his face was covered in tears also. He was so upset that he had to quell his frequent sobs and struggle to keep his hand from shaking from his excess of emotion.

 2894. And then there was Faldoni standing at his side and tapping him on the shoulder and asking him what to do with the ultramarine blue he had finished grinding up. “I can’t be bothered with that right now Faldoni, can’t you see what I am doing here?”  Said the master painter. So Faldoni took the pigment away to his cell and put it under his bed with the rest of his pigments.

2895. So there was Faldoni, in possession of four ounces of ultramarine blue pigment worth four ounces of gold on the open market. You may wonder why the master painter forgot about the ultramarine blue pigment, but it is not surprising really; ultramarine blue cannot be used in fresco painting as it reacts with the lime in the plaster. Since it is only of use in tempera painting the master painter had no need for it until there was a call for some little panels to be painted.