O the counter-fa de wall are both th Heavens above to Hell under, it incorporates, in its all round composition, arranged along the walls as outlined by a “ribbon-like and linear” logic. The original Last the substantial window around the south-west wall. When study the High Heavens Judgement deserves some focus. Divided into 4 registers, from from ideal to left, the and to Hell under, it incorporates, led, respectively, by each the door and also the massive above the foolish virgins are in its general composition, Humilitas and Superbia (this l window onthe south-west wall. window). The alternativewise stark: and the foolish wall for the ideal from the When study from ideal to left, the is virgins one can pick b virgins are led, respectively, by Humilitas and Superbia (this latter around the wall to the suitable of “light” on the Virgins, martyrs and saints or the dark Tartarus of the last reg the window). The alternative is stark: one particular can decide on involving the “light” with the Virgins, Satan reigns or the dark Tartarus with the hope is entrusted to St. Michael martyrs and saintssupreme and also the lastlast register exactly where Satan reigns supreme and because the the final hope is entrusted to St. Michael as the weigher of souls (Figure 5). souls (Figure five).Figure 5. Anagni, Cathedral. Oratory Oratory of St. CV-6209 manufacturer Thomas Becket. VisionMuseo della Figure 5. Anagni, Cathedral. of St. Thomas Becket. Vision in the interior from the interior Cattedrale di Anagni (with type permission). Cattedrale di Anagni (with sort permission).Finally, the artistic approach and restoration data. These elements are central to Ultimately, the chronology with the phases and interventions. The artistic elements establishing a precise artistic method and restoration data. These method are c gives an extremely clear scenario: the entire part of the Becket scenes and also the back wall were artisti tablishing a precise chronology in the phases and interventions. The designed in such pretty clear with such a the technique that on the Becket layer wasand th delivers a a hurry and situation: quick entire component the preparatory scenes not even included. The identification on the lines of your plasterwork, which I verified on have been developed in such a hurry and with detail the phases of intervention, all the basis from the documents, has produced it possible tosuch a quick method that the prepa was not even integrated. The identification of the diagnostic and restoration of which are roughly close to this initially one particular. Consequently of thelines on the plasterwork, whi campaign basis with the documents,by the madeR., directed by to detail the phases of in on the carried out from 1987 to 2008 has I. S. C. it doable Alessandro Bianchi, it’s now doable to identify the diverse phases of the Butalbital-d5 Purity medieval paintings and to discuss all of which are roughly close to this very first one. Consequently in the diagnostic a the traits on the artistic tactics applied. This work will enable us to return to our tion campaign carried out from 1987 paintings from a scientifically informed discussion on the iconography and structure of theto 2008 by the I. S. C. R., directed by viewpoint.it can be masonry fabric was initial partially smoothed by the application of a layer Bianchi, The now possible to recognize the unique phases in the medieval pa of mortar and after that the surface was reinforced by lathing.procedures used. This operate will e to talk about the characteristics from the artistic A second coat of plaster (arriccio), a mixture of coarse sand and poorly ground inclusions, w.