The Ceiling Frescoes

There are three parts of this assignment:
1. Ceilings in Threes
In this lesson, we see a theme similar to that of painting uses architectural space as its organizing framework, but in these new examples we've seen, this happens in a very different way. In the example of Michelangelo's Sistine ceiling we have the effect of separate panels, and in Pozzo's Glorification of Saint Ignatius, the final images are more unified.
Given all that you have learned, where would you place these additional ceiling frescoes in terms of their degree of relative openness vs. closure? Provide an order and state why you decided on that order. The "why" here involves using concrete language to describe the formal/visual properties of each example in order to clarify why you choose that order. As we have been doing in previous lessons, draw parallels to examples we have discussed previously. The best starting place would be to start by considering the frescoes Anthony discusses in the video for this lesson. You will find that, by making reference to these examples below, you will also start to employ formal/descriptive terminology that will make your discussion more specific.
-Pietro de Cortona—Triumph of the Barberini Family
-The Loves of the Gods by Annibale Carracci
-Raphael—Ceiling of the Stanza della Segnatura
Post your thoughts, following the instructions below. Your post should be two to three paragraphs long.
2. Restoration
Congratulations! You are now fully responsible for the Last Supper of Leonardo da Vinci. The year is 1978 and you have to make the decision about what to do with this painting.
What is your end goal? Do you restore the painting or conserve it? To save the work? To get back to the "original" Leonardo? What makes you confident that you can do this? To make the work look better? How do you justify your personal end goal to the rest of the world (this is a serious question, by the way), especially if you are deciding to go into the work and make significant alterations? Lay out your rationale and argument concerning why you decide to proceed the way you do. Take into account the possible objections to your project, and find a way to respectfully put forward your view
Does your decision come with some reservations? What are these?
Finally, what is the most historically accurate rendition of the painting in your view? Which approach tries its best to preserve history as it "actually" happened?
We will present the following scenario, related to Ross's discussion, just to underline the weightiness of the issue, and as food for thought as you contemplate what you will do. Let's suppose that we happened, by some miracle, to have an actual recording of Chopin playing the piano. Let's also suppose, however, that if we decided to restore this recording, we lived in a world where could not make a copy of the "original." This would present us with a problem similar to that faced by the restorers of the Last Supper, in that the changes are irreversible. What do you do when confronted by this situation? And how does that decision translate over to painting?
Your post should be two to three (well-developed) paragraphs long.
https://www(dot)theguardian(dot)com/culture/1999/may/25/artsfeatures3
3.
Do you know what Mozart sounded like? Do you know what Beethoven sounded like? How can we know? Should we try and recreate the sounds of the past for the present? Why? Why not?
Post your thoughts, following the instructions below. Your post should be two to three paragraphs long. You may also upload descriptive text, a YouTube link, or an MP3 file.