Fig. 1, Visitors look onto the courtyard of the Center for the Study of World Religions, c. 1960, Harvard Divinity School, bMS/131.9, Photo: Bradford F. Herzog.

Fig. 2, View of Holyoke Center and Forbes Plaza from Massachusetts Avenue, c. 1960, Photograph, Harvard University Archives, HUV 95 (7-4), © President and Fellows of Harvard College.

Fig. 3, View of the Holyoke Center from Mt. Auburn Street. The tenth-floor penthouse dining room is located at the top left corner., c. 1960, Photograph, Creative Commons Attribution 4.0 International

Fig. 4, Mark Rothko, Untitled (Study for Harvard Murals), 1962, National Gallery of Art, Gift of The Mark Rothko Foundation © Kate Rothko Prizel and Christopher Rothko, 1986.56.632, https://rothko.nga

Fig. 5, Mark Rothko, Untitled (Study for Harvard Murals, recto/verso), 1962, National Gallery of Art, Gift of The Mark Rothko Foundation © Kate Rothko Prizel and Christopher Rothko, 91.79, https://rot

Fig. 6, Mark Rothko, Untitled (Study for Harvard Murals), 1962, National Gallery of Art, Gift of The Mark Rothko Foundation © Kate Rothko Prizel and Christopher Rothko, H 23.1, 1986.56.631, https://ro

Fig. 7, Mark Rothko, Untitled (Subway), 1937, National Gallery of Art, Gift of The Mark Rothko Foundation © Kate Rothko Prizel and Christopher Rothko, 1986.43.113, https://www.nga.gov/collection/art-o

Fig. 8, Third mural from the triclinium, Villa of the Mysteries, Pompeii, Italy.

Fig. 9, Mark Rothko, Untitled (Study for Harvard Murals), 1962, Harvard Art Museums, Gift of The Mark Rothko Foundation © Kate Rothko Prizel and Christopher Rothko, 1986.630.1, https://harvardartmuseu

Fig. 10, Michelangelo, Ricetto, Biblioteca Medicea Laurenziana, Florence, Photograph, public domain, https://commons.wikimedia.org/w/index.php?curid=1556784.

Fig. 11, Mark Rothko 1485 First Avenue Studio, New York, 1964, Photograph, Kemper Museum of Contemporary Art, Kansas City, Missouri, Bebe and Crosby Kemper Collection, Gift of the Enid and Crosby Kemp

Fig. 12, First Installation of Panel One at the Holyoke Center, December 1962, Photograph, Harvard Art Museums Archives, © President and Fellows of Harvard College (Harvard University Art Museums), Ph

Fig. 13, Mark Rothko receiving his congratulatory card at the Holyoke Center with his wife Mary Alice, January 1963, Photograph, Harvard Art Museums Archives, © President and Fellows of Harvard Colleg

Fig. 14, Mark Rothko taking in the view of Cambridge with Estelle Leontief in the Holyoke Center penthouse, January 1963, Photograph, Harvard Art Museums Archives, © President and Fellows of Harvard C

Fig. 15, Mark Rothko with John Coolidge in the Holyoke Center penthouse, January 1963, Photograph, Harvard Art Museums Archives, © President and Fellows of Harvard College (Harvard University Art Muse

Fig. 16, Mark Rothko enjoying his celebratory cake with Marjorie Cohn at the Holyoke Center, January 1963, Photograph, Harvard Art Museums Archives, © President and Fellows of Harvard College (Harvard

Fig. 17, Before: Mark Rothko, Panel One (Harvard Mural Triptych), 1962, Egg tempera and distemper on canvas. Harvard Art Museums/Fogg Museum, Transfer from Harvard University, Gift of the Artist, 2011

Fig. 18, After: Mark Rothko, Panel One (Harvard Mural Triptych), 1962, Egg tempera and distemper on canvas. Harvard Art Museums/Fogg Museum, Transfer from Harvard University, Gift of the Artist, 2011.

Fig. 19, Before: Mark Rothko, Panel Two (Harvard Mural Triptych), 1962, Egg tempera and distemper on canvas. Harvard Art Museums/Fogg Museum, Transfer from Harvard University, Gift of the Artist, 2011

Fig. 20, After: Mark Rothko, Panel Two (Harvard Mural Triptych), 1962, Egg tempera and distemper on canvas. Harvard Art Museums/Fogg Museum, Transfer from Harvard University, Gift of the Artist, 2011.

Fig. 21, Before: Mark Rothko, Panel Three (Harvard Mural Triptych), 1962, Egg tempera and distemper on canvas. Harvard Art Museums/Fogg Museum, Transfer from Harvard University, Gift of the Artist, 20

Fig. 22, After: Mark Rothko, Panel Three (Harvard Mural Triptych), 1962, Egg tempera and distemper on canvas. Harvard Art Museums/Fogg Museum, Transfer from Harvard University, Gift of the Artist, 201

Fig. 23, Before: Mark Rothko, Panel Four (Harvard Murals Triptych), 1, Egg tempera and distemper on canvas. Harvard Art Museums/Fogg Museum, Transfer from Harvard University, Gift of the Artist, 2011.

Fig. 24, After: Mark Rothko, Panel Four (Harvard Murals Triptych), 1, Egg tempera and distemper on canvas. Harvard Art Museums/Fogg Museum, Transfer from Harvard University, Gift of the Artist, 2011.6

Fig. 25, Before: Mark Rothko, Panel Five (Harvard Murals), Egg tempera and distemper on canvas. Harvard Art Museums/Fogg Museum, Transfer from Harvard University, Gift of the Artist, 2011.638.5 © Kate

Fig. 26, After: Mark Rothko, Panel Five (Harvard Murals), Egg tempera and distemper on canvas. Harvard Art Museums/Fogg Museum, Transfer from Harvard University, Gift of the Artist, 2011.638.5 © Kate

Fig. 27, Josep Lluís Sert and Harvard administrators inspecting the first installation of the Rotrhko Murals, December 1962, Photograph, Harvard Art Museums Archives, © President and Fellows of Harvar

Fig. 28, Final Installation of the triptych at the Holyoke Center, December 1962, Photograph, Harvard Art Museums Archives, © President and Fellows of Harvard College (Harvard University Art Museums).

Fig. 29, Final Installation of Panel Five at the Holyoke Center, 1963, Photograph, Harvard Art Museums Archives, © President and Fellows of Harvard College (Harvard University Art Museums).

Fig. 30, Evening dinner in the penthouse dining room, Holyoke Center, circa 1963, Photograph, Harvard Art Museums Archives, © President and Fellows of Harvard College (Harvard University Art Museums).

Fig 31. Magnified cross section of paint sample from Panel Five. Originally printed in: Jens Stenger et al., “The Making of Mark Rothko’s Harvard Murals,” Studies in Conservation 61, no. 6 (2016): 336

Fig. 32, Tacking strip for Mark Rothko’s Harvard Murals, 15 June 2018, Harvard Art Museums Strauss Center for Conservation Archives, Folder 8. © Harvard Art Museums.

$Fig. 33, Diffraction pattern graph for Lithol Red, August 1987, Harvard Art Museums Strauss Center for Conservation Archives, Folder 6. © Harvard Art Museums$

Fig. 33, Diffraction pattern graph for Lithol Red, August 1987, Harvard Art Museums Strauss Center for Conservation Archives, Folder 6. © Harvard Art Museums

Fig 34. Fading test panel produced for the 1988 exhibition and monograph. In: Cohn et al., Mark Rothko’s Harvard Murals, 25.

Fig. 35: Exhibition photo of Mark Rothko’s Harvard Murals featuring Rothko’s works on paper, Harvard University Art Museums (Cambridge, August 6-October 2, 1988).

Fig. 36: Exhibition photo of Mark Rothko’s Harvard Murals featuring the paintings in their original position with low lighting, Harvard University Art Museums (Cambridge, August 6-October 2, 1988).

Fig. 37, Detail of Panel One (Harvard Murals) shows pigment-laden paint in relief on the surface of the canvas and the diluted crimson paint soaked into the canvas. 2014, Photograph, Harvard Art Museu

Fig. 38, Calcium Lithol Red crystals grown in the Straus Center laboratory for analysis, 2010, Photograph, Harvard Art Museums Strauss Center for Conservation Archives, © Harvard Art Museums. The imag

Fig. 39, Mock-up of the painting created by Jens Stenger on display in a classroom at the Harvard Art Museums, 2015, Photograph, Bryan Markovitz.

Fig. 40, Camera-projector system and workflow for the color restoration of a mock-up painting, 2014, Photograph, Harvard Art Museums Strauss Center for Conservation Archives, © Harvard Art Museums.

Fig. 41, In-situ view of the process to align the compensation image with the painting using a Harris Corner Detector in MATLAB on a laptop computer, 2014, Photograph, Harvard Art Museums Strauss Cent

Fig. 42, Use of the Harris Corner Detector in MATLAB to create homography between Panel One (Harvard Murals) and its compensation image, 2014, Photograph, Harvard Art Museums Strauss Center for Conser

Fig. 43, Discolored 1964 Ektachrome of Panel One (Harvard Murals Triptych) in Holyoke Center penthouse dining room, 1964, Photograph, Harvard Art Museums Strauss Center for Conservation Archives, © Ha

Fig. 44, Detail of the tacking margin on Panel Five (Harvard Murals) showing the red paint that was protected from fading in the small canvas areas covered by the original staples, 1964, Photograph, H

Fig. 45, Mark Rothko, Panel Six (Harvard Murals), 1962, Photograph, Harvard Art Museums Strauss Center for Conservation Archives, © Kate Rothko Prizel & Christopher Rothko/ Artists Rights Society (ARS

Fig. 46, Compensation images for the digital restoration of Rothko’s Harvard Murals, showing the uneven but widespread patterns of fading across the panels, 2014, Photograph, Harvard Art Museums Strau

Fig. 47, Detail of Panel Four tacking margin (Harvard Murals) showing the thin line of projected light that spills over the edge of the canvas, 2014, Photograph, Harvard Art Museums Strauss Center for

Fig. 48, Jens Stenger works with Mary Schneider Enriquez and Narayan Khandekar to calibrate the projection system in the special exhibitions gallery where the Harvard Murals were exhibited, 2014, Phot

Fig. 49, Jens Stenger holds a white poster board against the surface of Panel Four (Harvard Murals) to reveal the compensation image projected onto the painting, 2014, Photograph, Harvard Art Museums

Fig. 50, Image of Mark Rothko's Harvard Murals without light-compensation treatment, 2014, Photograph, Harvard Art Museums Strauss Center for Conservation Archives, © Harvard Art Museums.

Fig. 51, “Target image” of Mark Rothko's Harvard Murals for restoration with projected light, 2014, Photograph, Harvard Art Museums Strauss Center for Conservation Archives, © Harvard Art Museums.

Fig. 52, Installation view of the assembled paper and canvas studies created by Mark Rothko for the Harvard Murals, 2014, Photograph, Harvard Art Museums Strauss Center for Conservation Archives, © Ha

Fig. 53, Installation view of the virtually restored Harvard Murals facing the entrance, 2014, Photograph, Harvard Art Museums Strauss Center for Conservation Archives, © Harvard Art Museums.

Fig. 54, Installation view of the virtually restored Harvard Murals facing the central triptych, 2014, Photograph, Harvard Art Museums Strauss Center for Conservation Archives, © Harvard Art Museums.

Fig. 55, Harvard Art Museums staff in discussion during the lighting of the Harvard Murals exhibition, 2014, Photograph, Harvard Art Museums Strauss Center for Conservation Archives, © Harvard Art Mus

Fig. 56, View of the video projectors mounted overhead in the gallery during installation of the Harvard Murals exhibition, 2014, Photograph, Harvard Art Museums Strauss Center for Conservation Archiv