145 Concluding remarks a chapel, altar, and retable for his grave and memorial. During the conservation treatment, the date ‘1637’ was discovered on the retable in a concealed location. We can therefore assume that the retable was constructed between 1632 and 1637. Historian Vicko Lisičar (1879–1938) noted that the Annunciation painting adorning the central part of the retable was ordered in Umbria. This raises an important question: Was the retable specifically created to fit the painting? Or was there a joint plan for the retable and the painting, in which shape, content and size of the two were coordinated? Unfortunately, the archives contain no contracts or documents that would provide information on the contractors or the commissions for the craftsmen and artists. The only archival trace is the 1636 contract with faber‐ Fig. 223: Lopud, Gospa Maria Špilica; Joseph retable Fig.224: Trsteno, Church of Sv. Vid (St Vitus) 101; Holy Cross retable
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