156 Endnotes 19 Kristin Meise, Die Restaurierung des Goldlederantependiums ‚La B. V. dell Annunciata’ – Studien zur aktuellen Goldlederrestaurierung, Konzeptentwicklung und Durchführung. Diploma Thesis TH Köln 2001 20 This three-part mensa is unusual. The character of these stone slabs suggests that the stones were probably originally intended as floor slabs. 21 Wood species were analysed under the microscope. 22 Water-driven mechanical sawmills (segeheria) had been widespread since the 16th century. See: Mauro Agnoletti, Technology, Economics and Forestry: Water powered sawmills in Italy´s Cadore Region. In: Forest & Conservation history. 1994, p. 24-32 23 A separate publication by N. Lucic / H. Portsteffen et.al is in preparation. 24 In case of the Venetian wood trade, we have the following: piede veneto = 0,347 m (feet). un´oncia veneta = 0,028977 m = 2,89 cm. This would correspond to our ~3 cm diameter of the holes. see: Giovanni Fabbiani, Appunti per una storia del commercio de legname in Cadore. Belluno 1959, p. 21. The standard sawlog “taglia” used to be 4,10 m long. See: Agnoletti, Technology, Economics and Forestry: Water powered sawmills in Italy´s Cadore Region. In: Forest & Conservation history. 1994 p. 26 25 Mauro Agnoletti, From the Dolomites to Venice: Rafts and River Driving along the Piave River in Italy (13th to 20th Centuries). p. 25; In: The Journal of the Society for Industrial Archeology. pp. 15-36, and Giuseppe Šebesta, Struttura - evoluzione della Zattera. In: Daniela Perco, Zattere, Zattieri e Menadàs. Feltre, 1988, p. 196 and Fig. 46, 55 and 78 26 Lisičar, V., Lopud – eine historische und zeitgenössische Darstellung. Dubrovnik 1932, p. 36 27 Maritime and History Museum of the Croatian Littoral Rijeka. Personal communication. 28 Lisičar, p. 44 mentioned Sarsina and Bobium as being in Umbria, whereas it has to be stated that Sarsina is located in Emilia-Romagna. (see reference 16) 29 Koller, M., Das Staffeleibild der Neuzeit. In: H. Kühn, H Roosen-Runge, R. E. Straub, M. Koller (ed.) Reclams Handbuch der künstlerischen Techniken Bd.1 Stuttgart, (1984) p. 293. Koller, M. Zur Restaurierung großformatiger Leinwandbilder in Österreich. In: Die Bamberger Himmelfahrt Mariae von Jacopo Tintoretto. Arbeitsheft des Bay. Landesamtes für Denkmalpflege Bd. 42, München 1988 p. 29 – 53; Reifsnyder, J. M.; Artists Canvas – Or Just A Tablecloth? In: Painting Techniques. History, Materials and Studio Practice. IIC (ed.) Summaries of the Posters at the Dublin Congress 1998 (without pagination); Susanna P. Griswold, Two Paintings by ElGreco: Saint Martin and the Beggar - Analysis and Comparison. in: Conservation Research; National Gallery of Art, Washington, 1993 p.133-156; Helena Loermans, Weave draft canvases deciphered. In: https://labo.pt/; (26.5.2024); Jill Dunkerton, Marika Spring, Rachel Billinge, Helen Howard, Gabriella Macaro, Rachel Morrison, David Peggie, Ashok Roy, Lesley Stevenson, Nelly von Aderkas, Titian’s Painting Technique from 1540. In: National Gallery Technical Bulletin, Vol 36, p. 38 - 75 30 Jill Dunkerton, Marika Spring, Rachel Billinge, Helen Howard, Gabriella Macaro, Rachel Morrison, David Peggie, Ashok Roy, Lesley Stevenson, Nelly von Aderkas, Titian’s Painting Technique from 1540. In: National Gallery Technical Bulletin, Vol 36, p. 42
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