138 The painting “Purgatory” of the Mary retable structed ground layer were mainly found in the lower right corner of the painting. The even and dense texture of the filling material did not match the surrounding surface. Many retouches were found directly on the textile, especially in smaller areas. The dark brown color of the overpainting in all heads significantly mar the original composition – the style and blonde color of the hair of some figures had been completely changed (Fig. 208). Typically, contours and shadows had been repainted to enhance contrast. Most of the overpaint does not match at all – particularly in the bright incarnates they are too dark and not brilliant enough. Varnish The overall appearance of the painting was seriously marred by the thick greyish dirt layer, extensive wax residues on the entire painting, and the yellow and blanched varnish (Fig. 203). The surface of the painting appears matte and dull, the proper tones and colors were not visible. Strong fluorescence of the varnish under UV-inspection visualised the uneven thickness and distribution of the varnish on the entire plane (Fig. 209). Several local retouches of a later restoration phase on top of the varnish were visible as dark spots. Fig. 209: Fluorescence of varnish under UV exposure; local retouches on the varnish are visible as dark brush strokes
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