158 Endnotes is some indication that they originally used to be six separate hangings. The bigger hangings were sewn together out of two pieces in a later modification. The hangings are fixed between two wooden rods and are probably all made of the same hand-loomed tabby linen fabric. Painted in the technique of ‘Tüchleinmalerei’, the colours are applied directly on the textile without priming. An underdrawing with thin red lines (red ochre) is visible in unpainted areas or underneath bright colours or in the pleats. The realisation is not exactly following the underdrawing. Typical for ‘Tüchlein’ paintings, some areas are completely without paint. In these spaces the likely bleached textile is used as bright colour. The colours are applied thinly in a watery system (binder: glutin glue). Following pigments were used: yellow and red ochre, copper pigments (as a component of the black colour), carbon black, lead white, smalt. All pigments except lead white were mixed with an addition of chalk. The paint layer is thin and has soaked into the canvas so the depiction is partially seen on the reverse side and the canvas has kept its flexibility. Only in the incarnate the colour is applied thicker and in diverse layers. No varnish has been applied. 47 Prijatelj, Kruno, Spomenici otoka Lopuda XVII. – XVIII. Stoljeća. In: Anali historijskog instituta u Dubrovniku, Dubrovnik, 1954, p. 390. 48 Tadić, Jorjo, Građa o slikarskoj školi u Dubrovniku XIII – XVI vijeka. In: Srpska akademija nauka, Beograd, 1952, p. 208. The text of the related section of the testament is: “Testamentum presbiteri Blasii de Allegretto, parochiani insulae Mediae (nuper defunctus). 1567, a di XV aprile in Isola di Mezzo. ….Item lasso scudi trenta che sia fatto un altare depinto di Crucifisso in santa Maria de Bissone.” [Testament of the clergyman Blaž de Alegretto, a priest of the island of Lopud (who died recently) 1567, on the fifteenth day of April on the Middle Island (Lopud) … I also leave thirty scudas for the making of a painted altar of the Crucifix in the church of St Marija od Šunja.] 49 Prijatelj mentions that the “medallion” with the image of God the Father on the cartouche in front of the pediment could possibly be linked to the Florentine painter Simone Ferri. His presumption is based on a document published by Jorjo Tadić (see 49), a contract between Simone Ferri, the painter, and Miho Pracat, the churchwarden of the church Gospa od Šunja, signed on 11th August 1574. The contract contains the following statement: “che’il dicto mo. [maestro] Simone debbia dipingere nella dicta chiesa nell altare grande d essa ...nel mezzo tondo di sopra un Dio Padre con gl’angeli”. Although it has been precisely set out that Ferri would work on the main altar (altare grande), the only image of God the Father in the church of Gospa od Šunja is that on the Holy Cross retable. Here, there are no painted images of angels. Instead, there are one carved, polychromed, and gilded angel head with wings on top of the shield, and two carved, polychromed, and gilded putti at its bottom, one opposite another. Ferri lived and worked in Dubrovnik from 1568-1578. See: Alessandro Nesi, Simone Ferri – Recuperi e amplicamenti. Firenze 2021, p.1 and A. Nesi, Simone Ferri da Poggibonsi. Nuove opere e alcuni recuperi.https://www.academia.edu/45262897/Simone_Ferri_da_Poggibonsi_Nuove_opere_e_alcuni_recuperi. (26.5.2024); although the date of the
RkJQdWJsaXNoZXIy MTI5NTQ=