Retables on the Croatian Island Lopud

39 The Annunciation retable upon. Small losses within defined colour areas were completely integrated tonally, while larger losses, especially of shapes and contours, were filled with fine brushstrokes (rigatino), to distinguish the addition from the original. Fortunately, the large loss in the upper left corner did not affect any figurative depiction and was limited to the very schematic clouds of the celestial sphere. The rigatino-retouching carried out here blends in seamlessly but is easily recognisable as an addition when viewed from a short distance. Uneven or reduced colour surfaces due to former overcleaning or colour changes as well as remaining residues of overpainting were adjusted with glazes and/or rigatino on top of the retouching varnish. For the retouching acrylic paint “PRIMAcryl” by “Schmincke” was used (Fig. 60, 61). The uneven gloss required a final varnish. Matte areas were covered by sequential brushed layers of MS2A in white spirit 100-140 to obtain a regular saturation. Glossy retouches were matted with Acematt HK 25 in varnish. A final spray coat of MS2A in white spirit 100-140 was applied for an overall final gloss. Fillet frame Although there is no identifiable reference about the original framing or mounting system of the painting in the retable, a plain fillet framing was added for aesthetic considerations. The bare wooden fillet strips were painted with acrylic paint to match the color of the aged wood and attached to the front edge of the painting with small screws. This completely reversible evocation of a “frame” covers the unpainted edges of the painting creates a more “solid” impression (Fig. 11). Backing system To stabilise the painting and protect it from the dampness of the wall, it was decided to insert plywood panels into the spaces between the stretcher frame (Fig. 62). This was to slow down the water transport through the painting.41 With the same aim and to allow for better ventilation, it was decided to create more space between the painting and the wall by moving the whole retable 8 cm forwards.

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