Italian conservators believe Michelangelo painted the ceiling * 2a fresco* 1 and that most subsequent paint, glue, varnish, and dirt are products of later times that can be safely removed. Some critics (among them James Beck, Alexander Eliot), some artists (among them Frank Mason), argue that he made significant <i>a secco</i> additions and that in removing everything but the <i>buon fresco</i> bottom layer the conservators are destroying his anatomical detailing and subtleties of modeling. A solid majority of conservators and art historians vigorously refutes such claims (among them, Pieter Meyers, Andrea Rothe, Kathleen Weil-Garris Brandt). The restoration process is briefly explained and the controversy set out. -- AATA