160 Endnotes case of the Lopud crucifix, the „twin” sculpture is housed in the Chapel of the Holy Blood in the cathedral of Puebla, Mexico, see 64. 60 Anylsed by di Stefano, CICS and Dr. Jana Sanyova, Institut royal du Patrimoine artistique, Brussels 61 Analysed by Prof. Dr. E. Jägers, CICS Cologne 62 There is extensive literature on the production of lightweight sculptures in early Mexico. Selected relevant publications: Araujo Suarez, R., La escultura ligera de México” en Imaginería indígena mexicana. Una catequesis en caña de maíz, Córdoba, CajaSur, 2001. A careful historiographical analysis is found in: Ávila, Elizabeth. Materiales y técnicas de la escultura ligera novohispana con caña de maíz: Una aproximación historiográfica. México, Facultad de Filsofía y Letras, Universidad Nacional Autónoma de México, 2010-2011. An important advance in the material is in: Amador Marrero, Pablo Francisco. Imaginería ligera novohispana en el arte español de los siglos XVI-XVII. Universidad de Las Palmas de Gran Canaria, Islas Canarias, España, 2012. E.L. Brito, Symbolism and Use of Maize in Pre-Hispanic and Colonial Religious Imagery in Mexico, e-conservation Journal 2, 2014, pp. 116-127 https://www.academia.edu/35072485/Symbolism_and_Use_of_Maize_in_ Pre_Hispanic_and_Colonial_Religious_Imagery_in_Mexico (26.5.2024) 63 Amador Marrero, Pablo F. Catedral de Puebla – una mirada. Mexico-City, 2015, p. 82 64 In an initial botanical analysis (see 58), Ferula Comunis (giant fennel) was erroneously identified as the sculpture’s material, as the microscopic structure of the medulla of this plant is very similar to maize. Thus, Ferula was considered as a suitable material to fill the losses. The pith of ferula is as soft as balsa wood and can be cut, sanded and carved with a knife. While the analysis was misleading, the material nevertheless is very suitable for the additions. 65 The conservation/restoration of the two retables in the church Sveta Marija od Špilice within the framework of the International Conservation Workshop Lopud (ICWL) started with a first investigation in the year 2011 and was performed during the annual conservation workshops until 2016. No treatment was performed in 2012. 66 Lisičar, V., Lopud – Eine historische und zeitgenössische Darstellung. Dubrovnik 1932, p. 53 67 Popić, p. 211 after J. Lučić, (1993) p. 21. This description is difficult to interpret, as the current location is next to the western wall (the church is orientated to the south-east). In particular, the mensa slabs of these altars resting on stone corbels could indicate that retables have been here ever since. The present retables would therefore represent the second design phase at this location. 68 The following chapters will be dealing with both retables in parallel, as technique, state of conservation and treatment are very comparable. 69 David Freedberg, The Origins and Development of the Flemish Madonnas in Flower Garlands: Decoration and Devotion. In: Münchner Jahrbuch der Bildenden Kunst XXXII, 1981, pp 115-150; Susan Merriam, Seventeenth-Century Flemish Garland Paintings. Still
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