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“In any modern catalog of paintings,” according to John Pope-Hennessy, “special importance must attach to accurate description of physical condition.” Unfortunately, and ironically since both the exhibition and its catalogue were dedicated to him, Painting in Renaissance Siena: 1420–1500, which opened at The Metropolitan Museum of Art on December 20, 1988, suffers from a lack of just such descriptions. For paintings whose state of preservation has been already divulged in readily available museum catalogues, a reasonably fully documented discussion of condition is included. But for the majority of the rest, particularly those from private collections, the reader is left in the dark as to what is repainting and what is not. If this is because lenders refused to provide information about the state of their pictures, the authors should have explained that this crucial knowledge had been withheld.
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