83 The sculpture of the crucified Christ was added on the left side bound to a wooden stick inserted into the hip (Fig. 130). The overall appearance of this overpaint was of very low quality. The conservation treatment As the crucifix is part of the retable and the interior of the church, the conservation strategy was part of the general concept for the treatment of all the retables in the church and which, with the aim to concentrate on conservation, follows the general policy of the ICWL. Concerning the sculpture of Christ, a different approach had to be taken as the sculpture itself had undergone a different fate. The sculpture was found with a modern, aesthetically disturbing overpaint which added major contrast to the retable with its preserved authentic surfaces that had never been treated, only aged. This overpaint was judged to be a negative and disruptive aspect in the hisFig. 128: View of the skull with overpaint over deteriorated surface Fig. 129: Detail the arm joint; during removal of overpaint and of superficial repair Fig. 130: Overpaint and textile addition to the perizonium
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