the faded Colours of the Raphael Tapestries. 417 



turies of exclusion from these mighty agents. I liave received 

 letters from the proprietor Mr. Trull, and if yon think parts 

 ot them worth publication at this time, when the action of 

 light in the service of the line arts is so much dwelt upon, 

 they are entirely at your service. 



I am, Gentlemen, yours, ^c, 

 April -21, 1839. Michakl Faraday. 



To Professor Faraday. 

 Sir, 'Warwick-row, Coventry, March 12, 1839. 



The interest you took in observing the changes of co- 

 lour in the Raphael Tapestries, after being exposed to 

 light in London last July, made me anxious to communicate 

 to you the extraordinary eftects since produced, by the sim- 

 ple means suggested by yourself and other scientific gentle- 

 men, of a more perfect exposure to light and air, whicli have 

 for the last seven months been obtamed, in a finely situated 

 factory here. 



I feared to trespass on your valuable time, but could not 

 resist, after hearing of the great public interest now excited 

 by the new process, called, I believe, " sun painting." 



Light and air have done wonders for my tapestries, in 

 dispelling the damp, clearing up the colours, and reproducino- 

 others, obscured by the eftects of many years' close packinfy 

 up in boxes. I regret not to be able to make scientific re- 

 marks on the progress of the recovery, which others ac- 

 cjuainteil with chemistry might have done. 



The results cannot fully be appreciated but by those who 

 recollect the work when up in London, where the first effects 

 of change unexpectedly commenced. 



The greens had all become blue; you, Sir, anticipated a 

 return to the original tints, which has, almost throughout, 

 taken place. 



The robes and full colours generally had become dull and 

 heavy ; this has gradually gone oft', and left a brilliancy of 

 colour and beauty of eftect hardly to be excelleil. The "old 

 also, as you hinted, has become more clear and bright. 



The flesh parts of the figures, which had become pallid, 

 almost to white, have recovered the high tint and deep sha- 

 dow, and the strong anatomical effect of Raphael. 



A renewed freshness now reigns over the whole, and the 

 clearing up of the light in many of the landscape parts is 

 most extraordinary, giving a depth and breadth the cartoons 

 themselves do not now convey, particularly in the Keys to 

 St, Peter, St. Paul at Athens, and The Death of Ananias; 



Fhil. Ma''. S. 3. Vol. 14. No. 91. June 1839. 2 E 



