70 The Holy Cross retable not reconstructed, i.e. the lacunae were not filled in. Before retouching, the surface of the wood was coated with 5% hide glue in the areas where the preparation or the polychromy and gilding were missing. This significantly reduced the whitish appearance of these areas and created a more desirable surface for retouching. Dry pigments were used with Paraloid B72 dissolved in a mixture of diacetone alcohol and ethanol.56 For bigger losses, retouching was done in the Italian tratteggio or rigatino technique, applying small, parallel, coloured brush strokes. At closer inspection, these retouches can be clearly distinguished from the original. Viewed from a distance, they match harmoniously. Smaller spots were retouched in full. The aim was to achieve harmony in colour by calming down the losses in the paint layer without a total reconstruction. Each area of loss required the decision of either retouching the whitish ground layer with a colour matching the wood or the colour of the paint layer. (Fig. 107-110) The dramatic losses in the polychromy and gilding of the cartouche with God Father led to a more reconstructive approach. Besides the tonal integration of some smaller reconstructions in the wooden support, the retouFig. 108: After retouching Fig. 107: Before retouching
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