1 Retables on the Croatian Island Lopud Construction – Polychromy - Restoration A review of 20 years of ICWL project work International Conservation Workshop Lopud 2002 - 2023 Hans Portsteffen, Petra Demuth, Georges Dewispelaere, Marianne Decroly, Lou Gils, Charles Indekeu, Lana Kekez Kelava, Andreas Krupa, Jure Matijević, Caroline van der Star, Sagita Mirjam Sunara
2 Kölner Beiträge zur Restaurierung und Konservierung von Kunst- und Kulturgut Digital Edition Vol. 7 Herausgeber / Editor: Hans Portsteffen Herausgeber der Reihe / Editor of the series: Technische Hochschule Köln Cologne Institute of Conservation Sciences (CICS) Ubierring 40, D-50968 Köln Köln, 2025 This publication summarizes the results of more than 20 years of cooperation of the authors within the International Conservation Workshop Lopud ICWL. We extend our sincere gratitude to the many project partners who supported this project: In particular, we would like to thank the inhabitants of Lopud and the members of the Association for the Protection of Cultural Heritage and Nature of Lopud (Društvo za zaštitu spomeničke baštine i prirode Lopuda) with Evica Nedeljkov and Vlasta Pulić Glavović. Their contributions were instrumental in bringing this project to life by supporting our work with friendship and keen interest and even providing accommodation, food and hospitality for the many international participants – for whom this became an important experience within their professional training – enriching the cultural exchange. We would also like to thank Božena Popić Kurtela, the conservator in charge at the Dubrovnik Monument Care Office (Ministry of Culture and Media of the Republic of Croatia), whose invaluable professional advice and personal support of was pivotal for the planning, financing, and implementation of the workshop. We are also immensely grateful to Lady Jadranka Beresford-Peirse with the International Trust for Croatian Monuments, who supported the project in many ways, as well as Lucien Rees-Roberts, who initiated the Lopud Art Foundation and awarded Hans Portsteffen a generous writing grant and made this publication possible. Lastly, our heartfelt appreciation goes to all our supporters for their enormous, constant, and reliable engagement over the years.
3 Table of contents Introduction to the project 5 The retable of the former Dominican church of St Nicholas 8 The retables of the church Gospa od Šunja 13 The Annunciation retable 15 The Holy Cross retable 44 The sculpture of the crucified Christ 73 The Church of Our Lady od Špilice – St Mary retable / St Joseph retable 92 The painting „Death of St Joseph“ 116 The painting “Purgatory” of the Mary retable 132 Concluding remarks 144 Appendix I 149 Appendix II: Recipes 151 Picture credits 153 Endnotes 154 Literature 165
4 Fig. 1: The church of the former Franciscan monastery Sv. Marija od Špilice (St Mary of Špilica) with the buildings of the former monastery left of the nave
5 Introduction to the project Introduction to the project The island of Lopud, part of the Elafiti islands, is situated off the Croatian coast, about a 40-minutes boat ride from Dubrovnik. Lopud combines an idyllic mediterranean landscape with a rich cultural heritage. Not far from the trading city of Dubrovnik, formerly Ragusa, once it was a favourite place for wealthy merchants and sailors to settle. The inhabitants brought prosperity and culture, built numerous chapels and adorned their religious buildings with commensurately rich furnishings. In addition to its numerous chapels, the island of Lopud is home to three large churches: the church of the former Dominican monastery of St Nicholas, the church of the former Franciscan monastery Sv. Marija od Špilice (St Mary of Špilica) (Fig. 1), and the parish church Gospa od Šunja (Our Lady of Šunj) (Fig. 2). The churches were all built in close succession during the heyday of the Dubrovnik Republic and during the island’s strongest economic period in the 15th century, a tremendous feat of construction for such a modest, sparsely populated island. Typically, it was the Mendicant orders of Franciscans and Dominicans, which had then spread throughout the eastern Adriatic coast, who built these churches, thereby exercising their influence over the island.1 The Cologne Institute of Conservation Sciences (CICS) at the Technical University of Cologne (formerly Cologne University of Applied Sciences) and the island authorities have been in close contact since 1987. Since then, groups of students and their lecturers have been visiting the island annually over the summer term break to work on projects aimed at restoring endangered works of art. From the beginning, the project has been supported by the Association for the Protection of Lopud’s Cultural Heritage and Nature (Croatian: Društvo za zaštitu spomeničke baštine i prirode Lopuda), Diocese of Dubrovnik (Dubrovačka biskupija), Monuments Care Office in Dubrovnik (Konzervatorski odjel u Dubrovni‐ ku), Ministry of Culture of the Republic of Croatia (now: Ministry of Culture and Media of the RC / Ministarstvo kulture i medija Republike Hrvats‐ ke), Croatian Conservation Institute in Zagreb (Hrvatski restauratorski zavod) and its department in Dubrovnik (Restauratorski odjel Dubrovnik/ Villa Stay).
6 Introduction to the project Following conservation work in the island’s museum of local history and the restoration of individual paintings, work on the large retable in St Nicholas’ Church began in 1997, after the Croatian War of Independence (1991-1995), and was completed in 2001 with its re-erection.2 Fig. 2: The parish church Gospa od Šunja (Our Lady of Šunj) with the cemetery of the island
7 Introduction to the project In 2002, the project, which until then had been exclusively Cologne-based, was transformed into the International Conservation Workshop Lopud (ICWL), a partnership between the universities of Antwerp, Brussels, Split, Dubrovnik and Cologne.3 From then until 2023, a further 4 retables as well as historical furniture from the two churches were restored in annual two-week summer schools with students and lecturers from the stone, painting, polychromy and wood disciplines in changing teams. Also worth mentioning are the inventarisation and storage of the paraments of the churches as well as the analysis of a series of “Tüchlein” paintings, a special feature of the ensemble in the parish church.4 The ICWL is ongoing and is currently focused on the conservation and restoration of the old choir stalls in the Franciscan monastery church.5 The focus here will be on the results of the examination of the retables, as this is a unique collection of wooden polychrome retables. Elsewhere, especially on the mainland of the Dubrovnik region, they have been lost in the devastating earthquake of 1667 or have been replaced by marble retables in the later Baroque style. The relatively isolated location of the island as well as the economic decline of the former Dubrovnik Republic (Ragusa) in the 17th century, to which the island of Lopud belonged, may account for why the early Baroque retables continued to be valued and preserved here. Although alterations to church furnishings after secularisation led to changes in the inventory, the retables remained largely untouched during this phase. A further century of neglect due to various reasons like the straitened situation of the church during the period of Yugoslav communism or lack of funding may be the reason why, on the one hand, the retables were preserved and, on the other, they survived in a fragile, but never reworked, largely untouched, authentic state.
8 The retable of the former Dominican church of St Nicholas The retable of the former Dominican church of St Nicholas The Dominican monastery and church of St Nicholas were completed by 1482.6 The magnificent wooden retable was probably constructed during the end of the 16th century.7 With three vertical axes, the retable rises behind the stipes on a stone plinth wall (Fig. 4). The central axis is protruding like a risalit and thus emphasised. Here the wooden sculpture of St Nicholas is situated and flanked by two rectangular panel paintings showing St George on the right and the baptism of Christ on the left. The sturdy entablature on four candelabra columns is followed by a second register with three paintings on panel, now difficult to read due to the fragmentary condition. Traces allow for the identification of the Virgin Mary in the central panel, with groups of Dominicans and bishops depicted in the panels on either side. With a second entablature and the painting of the Resurrection of Christ in the lunette-gable, the retable reaches the vault of the choir room. The Renaissance origin is clearly evident in the pronounced vertical and horizontal disposition, the ornamental columns, the consoles, and the symmetric pattern of acanthus and wine leave ornaments on the surfaces of the predella and the architraves. Its monumental size is unparalleled in the region of Dalmatia. The design of the retable clearly reflects Italian origins, as Fig. 3: Retable before treatment
9 The retable of the former Dominican church of St Nicholas exemplified by the Polyptych of San Vincenzo Ferreri (1464-68) with panels by Bellini (Fig. 5). Exactly which of the paragons were relevant to the local (i.e. Dubrovnik-based) master may be reserved for future research. There are related examples in the Dubrovnik region such as the retable in the church of St Mary in Pakljena on the nearby island of Šipan.8 Finally, the retable in the Franciscan church Sv. Marija od Špilice on Lopud must to be noted as the closest related piece (Fig. 6). As coherent and uniform the structure of the retable is, as heterogeneous are the execution and design of the painted panels. The paintings in the upper register differ from those on the lower storey both in terms of the style and the proportions of the depicted subjects. They appear to have been taken from an older context and to have since been adapted. What is also unusual from a constructional perspective is the flawed horizontal lower joint to the otherwise vertical boards of these panel paintings, which could have been due to an adaptation of the format for use in this retable. Following the earthquake of 1667, which caused considerable damage to the entire Dubrovnik region, the monastery was abandoned. While today the monastery building is still in ruins, the church survived and, thanks to the efforts of the local community, was restored after the Croatian War of Independence and once more serves as a place of worship. In 1997, at the start of the project, only the main storey of the retable itself was still in its place in the church (Fig. 3); with the exception of a lost candeFig. 4: Lopud, former Dominican monastery church of St Nicholas; retable after treatment; H: 7,25 m
10 The retable of the former Dominican church of St Nicholas labra column, the remaining parts were collected from various storage locations on the island, some of them in catastrophic condition. The desolate storage conditions and centuries of neglect had taken their toll on the substance. Infestation by wood pests had resulted in a comprehensive loss of stability, with the degradation of the glue joints leading to the loss of about 70% of the ornamental design of the fronts. The extreme fluctuations in the mediterranean island climate had affected the mounts and gilding, so that in addition to the loss of stability and the loss of the ornamental decoration, there was also a loss of approx. 80% of the paint layer and gilding. Only the central sculpture of St Nicholas and the two Fig. 5: Venice, Basilica dei Santi Giovanni e Paolo, Polyptych of San Vincenzo Ferreri: Giovanni Bellini (1464-70)9; H: 2,75 m
11 The retable of the former Dominican church of St Nicholas Fig. 6: Lopud, former Franciscan monastery church Sv. Marija od Špilice, main retable: Pietro di Giovanni10; about 1523; H: 5,40 m
12 The retable of the former Dominican church of St Nicholas paintings on the main storey survived in more sheltered conditions and were thus in a better condition, while the paintings in the upper register now only reveal individual paint fragments on the exposed wooden panel. This desolate condition and the island’s parish desire for a dignified liturgical function for the retable prompted a concept involving a considerable amount of reconstruction of the ornaments, mouldings, polychromy, and gilding, while the fragmentary paintings of the upper register were only consolidated. There, a calming “archaeological retouching” renders the lost depictions at least vaguely recognisable. One of the main achievements of the rescue operation was the retable’s reassembly on a new wooden support frame, in which the individual storey segments are now supported separately and no longer rest directly on top of one another. Following its restoration and reconstruction, the retable can once again be admired in all its magnificence. The rescued work, however, suffers from the heterogeneity of its appearance, resulting from the contrast between the extensive reconstruction and new gilding of the ornamentation on the one hand and the fragmentary condition of the upper panel paintings on the other. This approach of extensive reconstruction was not pursued for any of the retables discussed below.11
13 The retables of the church Gospa od Šunja The retables of the church Gospa od Šunja Also built in this late 15th-century period marked by prosperity and extensive construction, this parish church was consecrated in 1488 and now features 7 altars.12 The plain building with a rectangular nave and a barrel-vaulted, recessed square choir was extended in two later construction phases by side chapels in the form of transepts, creating a cruciform floor plan (Fig. 2, 7). The wooden high altar retable, which has been attributed to the Venetian sculptor and altar designer Paolo Campsa, was consecrated in 1572 and is in fact the second retable to have been situated here.13,14 In the left-hand chapel, built in 1527, stands the late 16th-century retable of the Passion of Christ (Holy Cross retable), (Fig. 8, 9). This retable, with its life-size crucifix from Mexico imported sometime around 1567, now succeeds an older St Roch retable attested to in the inscription on the chapel’s arch. The inscription reads: “HOC TIBI DIVE ROCHE THOMAS Fig. 7: Gospa od Šunja, floor plan
14 The retables of the church Gospa od Šunja PIEDELLI CONDIDIT SACELLUM MDXXVII” (To you, St Roch, Thomas Pidelli erected this chapel in 1527). The right-hand chapel was commissioned by Bishop Brautić as his funerary chapel. His last will, drawn up in 1631, stated that the chapel should be built in the likeness of the St Roch Chapel opposite and contain both tomb and the retable.15 The retable, bearing the discreetly placed date 1637, is called the Annunciation retable because of the altarpiece depicting the Annunciation of Mary with saints (Fig. 10, 11). These two retables were restored as part of the ICWL programme from 2002 to 2017 and will be presented here. Fig. 8: Holy Cross retable, before treatment Fig. 9: Retable after treatment
15 The Annunciation retable The Annunciation retable The entire south chapel, including the altar, was constructed in the years following 1632 as a donation from Bishop Nikola Brautić. The altar was attached flush to the south wall. During dismantling, an inscription written in the paint used for the retable was discovered on the underside of the entablature, probably dating the painting and gilding of the retable: “1637 dio 20 marcio”, (20th of March 1637) (Fig. 12). This dating is supported by the dates of Bishop Nikola Brautić’s life and by direct mentions of the building of the altar in his will.16 A document preserved in the Dubrovnik archive contains a contract from 1636 between Blasius Allegretti and master woodcarver Urban “[...] magister Fig. 10: Annunciation retable, before treatment Fig. 11: Retable after treatment
16 The Annunciation retable Urbanus de Tenum Dorfort Bavarus [...] faberlignarius [...]”. According to this contract, he was obliged to make ‘’unum ornamentum altaris ligneum‘’ for the church Gospa od Šunja within three months for a remuneration of 72 ducats. The date of the contract (4/11/1636) with Urban Bavarac, the timespan of three months, and the date found on the retable (20/3/1637) are in close proximity to each other, so it is very likely that this contract refers to the Annunciation retable.17 It should be mentioned as well that the date 20th of March is only five days before the festivity of the Annunciation (25th of March). Therefore, the workers (whoever they were) were probably rushing to finish the retable for the festivity of Annunciation.18 The altarpiece depicts the Annunciation above a sacra conversatione with the saints Nicholas, Anthony, Augustine and Carlo Borromeo. The stipes is fronted by an 18th century gilt-leather antependium (Fig. 14), which was already restored in 2001 by a student of CICS Cologne as part of her diploma thesis, but is not considered further here.19 Strong climatic fluctuations and heavy pest infestation badly damaged the woodwork, the polychromy, the gilding, and the painting, and led to considerable loss of many areas. During an earthquake, the upper storeys Fig. 12: Inscription underneath the entablature: “1637 dio 20 marcio” Fig.13: The gravestone of Bishop Nikola Brautić: „NICOLAO BRAVTIO EPO SARSINAE ET COMITI BOBII OBIIT ANODNI 1632. MENSIS MAII 27, AETATIS SUE. LXVI. EPISCOPATVS SUI XXX” (Nicholas Brautić, Bishop of Sarsina and Count of Bobium, died in the year of our Lord 1632, May 27, 66 years old, 30 years after receiving his episcopal consecration)
17 The Annunciation retable had collapsed and had been provisionally re-erected by local labour. The stone altar table also exhibited dangerous structural weaknesses. An essential first step was taken in the summer of 2002: as a basic prerequisite for the subsequent restoration work, a specialised company was contracted to fumigate all of the church’s wooden elements with methyl bromide to combat the insect infestation. Description of the retable The altar stipes on a two-tier stepped podium is composed of rough-hewn limestone supporting three more or less rectangular limestone slabs serving as the mensa.20 A depository is embedded in the central mensa slab. The front of the stipes, covered by the gold leather antependium, is decorated with a mortar cross. The retable, mounted on the mensa in the classical form of an aedicula, provides a magnificent architectural frame for the altarpiece. A distinctive pedestal zone on either side of the stipes attests to the architectural character of the design. The predella rises above the mensa with protruding postaments for the two half-columns of Corinthian order that support the entablature with an ornamentally carved lower part and fluted shaft. Together with flat jambs, these columns form the niche for the painting. The broken pediment corresponds to the sequence of frieze and cornice of the entablature. The central surfaces of the predella and frieze are richly ornamented Fig. 14: Annunciation retable; gilt-leather antependium ‚La B. V. dell Annunciata’
18 The Annunciation retable with acanthus tendrils, the cranked zones of the frieze above the columns are decorated with filled vases, additionally “diamonds” or narrow lozenges can be found on the sides of the predella (Fig. 16, 17). All carved parts, including the mouldings, have a uniform water-based gilding and are set against light grey-blue matte background surfaces (Fig. 18). Various coniferous types of wood were found to have been used for the woodwork of the structure. Beams, boards and mouldings of the functional part of the structure are made of fir (Abies alba Mill.) and spruce (Picea abies Karst.). 21 The sculptural parts of the demi-columns and the ornamental applications are made of light, dense poplar wood (Populus spec.), which serves well for carving. Interestingly, the wood species used for similar ogee mouldings in the architrave, broken pediment, and the rhombus ornaments vary. Some of the them are made of coniferous wood and some of poplar. These differences were not relevant to the woodworkers, as the gilding and painting was planned from the outset. Fig. 15: Annunciation retable, measurement; H: 6,28 m
19 The Annunciation retable The boards are mechanically sawn, with the reverse left rough and the front jack planed and smoothed. The structure is conceived as a system of eight separate box-like elements to be assembled in situ, the two pedestals, the predella, the columns, and the entablature with the two parts of the broken pediment, all of which form separate entities. They are currently not connected to each other. However, there are traces that indicate Fig. 16: Front of predella, detail; condition before treatment Fig. 18: Complete view of entablature and predella; condition before treatment (digital composite) Fig. 17: Lozenge at the projecting side of the predella; condition before treatment
20 The Annunciation retable there once was a groove-and-tenon system in place for fixing the pillars onto the predella. Those tenons are lost. There are no signs of classic carpenters’ wood joints. Wooden beams, boards and mouldings are only connected by iron hand-forged nails. Even the carved ornamental applications are fixed with nails to the flat surfaces of the construction. Glue has only been used for small elements such as the rosette. This additive way of construction is very effective and fast (Fig. 19, 20). Fig. 19: Detail of the entablatura, compare Fig. 20 Fig. 20: The view of the end section of the entablatura exemplifies the additive building manner
21 The Annunciation retable Boards with “puzzling holes” The main construction boards show traces of a mill driven saw, rough but perfectly equilateral and squared to the length of the boards, probably indicating the use of wet wood 22 (Fig. 21). Most of these boards have a thickness of about 20 mm. Characteristic holes with a diameter of about 30 mm are visible in various boards of the construction, having no function or obvious reason within the construction (Fig. 22, 23, 31, 32, 49). Fig. 21: Marks of mechanical sawing Fig. 22: Strainer of the Annunciation painting, detail Fig. 23: Left side of the retable, hole with no function but closed with a dowel
22 The Annunciation retable Similar holes with the same diameter have also been found in other objects in the church Gospa od Šunja, such as in the stretcher frame of the Annunciation painting, the organ gallery, the main retable, the ceiling of the choir, as well as in the Holy Cross retable and the side retables in the church of St Mary of Špilica (Gospa od Špilice). This brings up the question of what they were used for. It seems highly probable that these holes were made for timber rafting. While the holes do not seem to have an obvious function in the construction, they indicate that the beams and boards must have been transported on a raft, the holes made for joining the timber or boards in the raft. Transporting wood in a raft has long tradition. High quantities of wood were imported via Venice from the forests of the Piave valley.23 There, typically, holes of 3 and 5 cm were drilled into the beams and tree trunks to construct the raft and to connect the beams with young branches of hazelnut.24 In particular, extra boards were used to transversely stabilise the rafts. Water-powered sawmills on the upper course of rivers produced planks that were rafted as well. The holes observed were made to join the board stacks.25 (Fig. 24) Fig. 24: Table from Berenger, Dell’ Antica storia e giurisprudenza forestale in Italia. Treviso/Venezia 18591863. Tavola II.B, p. 809. The raft on the right (Fig. 6) is constructed using pre-sawn boards, piled and connected as shown in Fig. 6B, 6C, 6D and 6E. Series of drilled holes are clearly recognisable.
23 The Annunciation retable It is well documented that Lopud had a fleet of over 100 wooden boats and ships during that time.26 It is obvious that the enormous demand for wood for this and other purposes could not have been fulfilled with the limited resources of the tiny island itself and must have been imported from elsewhere. Besides Venice with its well-established wood trade with the Piave region, Rijeka was the primary port for transporting timber from the lush forests of the Frankopan estates of Gorski Kotar to the islands.27 Other areas like Montenegro and Albania could be added as additional sources. Import also explains the existence of poplar boards in the retable, as poplar does not grow on the island. Polychromy and gilding The character of the polychromy and water-based gilding also reflects the quick routine of the craftsmen. After a first sizing, two or four priming layers made of gypsum and animal glue were applied: two layers where blue was planned, i.e. in the background areas, and four layers where gold leaf was applied. The white priming coat covering the entire surface was applied in varying thicknesses, resulting in a smooth but slightly uneven surface. In the corners and recesses of the gilded areas in particular, the layers measure up to several millimetres. This is apparently due to the application of colour and gilding without prior reshaping or grinding of the priming layers. Gilded areas show an extremely thin layer of subsequently applied ochre-coloured poliment. After the application of gold leaf and burnishing, the ungilded backgrounds were painted in two layers with two slightly different blue paints that define the borders of the gilded areas. Smalt was identified as the pigment, while animal glue serves as the binder. Typically, the pigments of the lower layer are fine-grained, whereas those in the upper layer have a coarse-grained structure. The blue surfaces show different hues of blue, resulting in a patchy character (Fig. 25, 26). In the corners and along the boundaries of the carvings, the blue tends to be darker, contrasting with the pale blue flat surfaces. This could be the result of uneven application, lack of stirring in the pot, and re-orientation processes during the drying of the glue-based paint with very irregular pigment sizes. In the pale blue layer, coarse dark-blue pigments can be clearly distinguished with the naked eye.
24 The Annunciation retable Horizontally oriented tears from dripping paint beneath ornaments that have since been lost indicate that the retable elements had been painted and gilded before mounting (Fig. 26). At the time of applying the gilding and paint, some parts of the ornaments were clearly already damaged or missing. In these areas, the gilding was applied in the form of the missing ornament on the flat background (Fig. 25). This suggests that the polychromy was carried out some time after the construction and/or delivery of the wooden structure. Furthermore, this confirms the division of the work between carpenter, carver, and painter, most probably having different contracts and working schedules. The painting The upper half of the painting depicts the annunciation scene, which is witnessed below by four almost life-size saints in a grouping of a “sacra Fig. 25: Even before gilding, the lower right volute had broken off. Here, the gilding lies on the flat support (condition before treatment). The blue paint has a patchy, irregular appearance Fig. 26: Detail of the frieze; drops of preparation and colour that had run behind the applied ornamentation are now visible due to the loss of the carving. The horizontal orientation makes it clear that the gilding and polychroming took place before the individual elements were assembled
25 The Annunciation retable conversatione” (Fig. 27). Older literature mentions that this painting was imported by Nikola Brautić from his bishopric in Sarsina/Umbria at the beginning of the 17th century.28 There is no doubt that the painting was specifically intended for the altar and has belonged to it from the very beginning, although artist and origin remain unclear. The painting was created using traditional oil painting technique. A distinctive feature is the fabric used by the artist. It consists of a single large piece (3.13 x 2.30 m); the preserved selvedge at the lower left-hand side shows that the cloth must have been at least 2.30 cm wide in the direction of the weft, indicating an extraordinary large loom for hand weaving at the time. The weave shows a complex pattern of rhomboid shapes and can be described as a variation of a diamond shaped point twill (Fig. 28, 29). Such canvasses are known to have been used in the 16th and 17th centuries, especially in Venice and Spain. Similarly complex weaving patterns can be found in paintings by Titian, Tintoretto, El Greco and particularly frequently in Tuscan and Emilian paintings.29 The very common weave pattern was named mantelillo veneziano or perugine cloth.30 Paintings from Fig. 27: Painting “Annunciation”; condition as found Fig. 29: Schematic layout of the canvas weaving pattern (patrone) Fig. 28: Detail of the back of the canvas
26 The Annunciation retable the period depicting laid tables show such fabrics as tablecloths, as can for example be seen in the painting “Last Supper” by Bartolomeo Schedoni (1578 to 1615)(Fig. 30).31 The wide, seamless canvas could well have been particularly valuable and could also be interpreted as a special gift to the altar. The canvas was nailed to the front of a simple, non-wedgeable frame and coated with a very thin brownish preparation layer.32 The paint layer is also very thin. Impasto is only found in a few areas, such as the bishop’s mitre. In most of the surface areas, it has an even and smooth character, but nevertheless shows the relief of the woven structure. Condition - general observations The retable had remained virtually untouched to this point except for the pedestal zone which had been clad with modern-day tongue and groove boards. The only traces of restoration work could be found on the painting. An earthquake in 1996 probably caused the entablature to shift, subsequently collapsing during a church service, after which it was re-erected and secured by local labour. Fig. :30 “Ultima Cena” by Bartolomeo Schedoni (1578 to 1615) Galleria Nazionale, Parma; GN 132. (by concession of Ministero della Cultura - Complesso Monumentale della Pilotta - Galleria Nazionale, Parma), The depicted tablecloth shows a comparable pattern.
27 The Annunciation retable This state of being relatively untouched, neither by the restorer’s hand nor by the usual reworking, means that we can clearly see the traces of normal ageing over the last 400 years. The situation is aggravated by climatic stress on the materials of the retable, extensive wood pest infestation of the wooden construction, and damage to the painting caused by bats. The bats used a hole in the painting as an entry, nesting behind the painting and damaging the surrounding substance with their droppings. The painting itself had in the past already been restored once. Two patches on the back and numerous mismatching retouches and overpainting bear witness to this. In addition, the historical strainer frame had been modified into a stretcher with wedges. The canvas edges had become very brittle due to the repeated removal from the stretcher and the re-stretching of the painting. The paint layer is brittle, adhesion to the canvas very weak, thus flaking and losses appeared all over. The condition was critical, particularly in view of the partially rotten wood substance and the severe damage to the polychrome surfaces and the painting. Despite everything, the retable still made a powerful impression on the viewer. Fig. 31: Predella, detail; damage due to insect attack
28 The Annunciation retable Conservation and restoration of the retable In contrast to the restoration of the Nicholas retable, here it was decided to adopt a more cautious and differentiated approach. The doubts raised by the extensive reconstruction in the Church of St Nicholas were to lead to more thorough reflection on the purpose, necessity, and scope of reconstruction in the new project, which was also discussed with the students. All decisions were to be based on a thorough examination of the technical aspects and condition of the retable. The fundamental task was to conserve the damaged wood, polychromy and gilding. To this end, the modern tongue-and-groove boards on the pedestals were also removed. To strengthen the wood, the acrylic resin Plexigum PQ 611 was applied in several passes. Consolidation of the polychrome and gilding was also carried out in several passes. Sturgeon glue in a concentration of 3-7% was used for the matte blue smalt. Flaking of the gilding was treated with Plex‐ tol B500. The unstable mensa plates were taken up and laid horizontally in a new mortar bed. Up to this point, standard conservation principles were adhered to. From thereon, new paths were to be taken with a different restoration goal. Contrary to the customary, far-reaching reconstruction measures undertaken in the context of other restorations in Croatia, the retable was only to be improved in its visual appearance through limited retouching Fig. 32: Pedestal, seen from the back; stabilisation of fragile joints with cutto-size wooden blocks Fig. 33: Injection of Plexigum consolidant
29 The Annunciation retable and refining its presentation. Reconstructions were to be avoided wherever possible. The conditions here were much better than for the Nicholas altar, as the loss of substance had not been quite so extensive. All those involved shared the impression that the conditions here were sufficiently good to favour such a restrained approach.33 As a guiding principle for the decision, the authors adopted the following premise: conservation instead of restoration and reconstruction, thereby following the lead of Dehio, whose views are still ground-breaking.34 Refraining from reconstruction also means that the work is recognised as unrepeatable and unique. Due respect is paid to the authentic original. Damage and ageing is accepted as part of its history. What is lost cannot be replaced. However, the fragmentarily preserved work also possesses its own aesthetic values and calls for an engagement with its meaning and the desire for a positive reaction. Are the historical intention and the pictorial representation sufficiently legible? Does the viewer’s optical discomfort prevail or is the overall impression coherent in itself despite the damage? This is where subjectivity comes into play, requiring decisions to be made in a larger group. For this reason, examples of possible approaches for the treatment were first tested and put up for discussion. The final restoration concept was derived from the opinions formed in these discussions (Fig. 34). Fig.34: Entablature; test area for the retouching concept; left side untreated / right with retouches
30 The Annunciation retable To date, complete reconstruction of all missing and damaged elements has been regarded the norm by most professionals involved in the treatment of retables in Croatia, as well as by local authorities. Refraining from reconstruction is an unusual position. The damaged work of art is perceived as unattractive or blemished, and there is a desire to remedy it, to cover up or reverse the damage. The notion of the unrepeatable authentic original was introduced into the discussion.35 The aesthetic qualities of the retable can be brought to the fore through targeted retouching without complete reconstruction. At the same time, the substance is conserved by minimising intervention and reducing the amount of additional material added to the existing old substance. Formal reconstruction only took place in two areas, one of which is the upper corner of the right-hand gable segment, where there was a gap in the contour. The line of the structure is enhanced using the technique of supplementing with wooden sticks (Fig.35, 36). The second place is the lower profile of the predella. This is so close to the viewer and to the mensa, which is still in liturgical use, that it was necessary to fill the worn and fragile surface of the profile with filler material to add strength. Fig. 35: Predella, reconstruction of moulding with subsequently added wood-sticks, before shaping and retouching
31 The Annunciation retable A total of three filler systems were developed, designed to allow for maximum customisation according to the respective damage: injectable filler for undercut holes, trowelable fillers for deep voids and topcoat fillers for a smooth surface. The binder used was a combination of acrylic resin Plexigum PQ 611 and animal glue as Plexigum was used for the wood consolidation work. The fillers with cork granulate (in two particle sizes and various proportions), hollow phenolic microspheres, and chalk were prepared as standard mixtures (Fig. 38-41). The injectable filler was primarily required for those parts of the eroded wood substance where the polychromy and gilding were left without support, but to which the supporting filler could not be applied to with a spatula. This compound could be injected through exit holes (Fig. 37).36 The retouching was carried out using pigments and acrylic resin Paraloid B72 as a binder, and only prominent defects were minimised. Covering the primer-visible surfaces with the appropriate local colour achieved a significant calming of the surfaces (Fig. 34, 42, 43). The aim of the retouching was to calm the surfaces by accentuating the values of the local colours. Whereas wood and gold are close together in colour, the contrast between the visible preparatory layer to gold, wood, Fig.36: Right gable; reconstruction of the broken corner
32 The Annunciation retable and the blue areas is high and could be softened by covering the white borders. This approach is in keeping with the desire to highlight the aesthetic qualities of the retable without the need of regilding and repainting. A special situation arose regarding additions or the extent of the retouching in the area of the pedestals, where the decorative mouldings had been destroyed before being covered with modern tongue-and-groove boards. Here too, no additions were made. However, the calming retouching of the blue areas emphasises the original structure and compensates for the loss (Fig. 44, 45). Fig.38: Predella, bottom moulding after consolidation Fig.37: Injection of filler Fig.39: First step of formal reconstruction with coarse filling mass
33 The Annunciation retable Fig.40: Second layer of filling Fig.41: Top coat of filling prepared for retouching Fig.42, 43: Frieze; detail of carving before and after retouching Fig. 44: Pedestal after removal of modern tongueand-groove boards; the wood surface is visible in place of the lost mouldings Fig. 45: Pedestal after treatment
34 The Annunciation retable The more or less untouched polychromy of the retable is, in spite of the amount of loss, still remarkably vivid. Smaller retouches produced a positive effect on the whole. The works were completed with the re-erection of the retable. In order to improve ventilation, especially for the painting, the whole construction was moved forward by about 8 cm. The individual segments lie unattached, one above the other. Two lateral wall anchors and a custom-made hanging of the architrave provide sufficient stability, whilst also allowing room for possible vibrations caused by earthquakes. The treatment of the painting The treatment was carried out over nine workshop periods. Due to the limited progress possible during of the annual two-week working periods, the team had the task of dividing up the treatment into distinct steps. The painting regularly had to be remounted to the retable ad interim, waiting for next year’s measures. The positive side effect of this periodical work was the chance to evaluate the achievement of former measures as well as to correct and adjust the proposed concept. The main challenge was the extreme brittleness of the paint layer and the big hole in the upper left corner of the canvas, which was used by bats as an entrance to their roost behind the retable. Excrements of the bats had caused severe losses in the paint layer, with deterioration of the canvas into a powdery condition in the wider area of the hole (Fig. 46-49). Deformations in the bottom half of the painting, (Fig. 50) surface dirt, and mismatching retouches (Fig. 51) from an earlier restoration attempt, together with very irregularly applied varnish that had become brown emphasised the pressing need for treatment. The first aim was to stabilise the canvas. In order to leave the beautiful and special fabric visible as such, it was decided to stabilise it with local measures and thus dispense with the initially planned lining. The treatment focused on a local intarsia with additional support of the area with a thin Stabiltex polyester and a striplining on all sides of the canvas, both achieved with BEVA 371 (Fig. 52-57). In order to minimise future stress, the painting was re-stretched over a loose-lining (polyester canvas) (Fig. 62).
35 The Annunciation retable Fig. 46-49: Damage to the painting caused by bats; the hole in the upper left corner was used by bats as an entrance to their roost; the droppings caused severe cupping of the paint layer, deformation, and bleaching of the canvas Fig. 50: The bottom of the painting was deformed through the weight of the large format. The surface is covered by dust and dirt. (position on the working table) Fig. 51: Mismatching old retouches and new losses in the area of Marys coat.
36 The Annunciation retable Fig. 52: Impregnation of weak and powdery canvas in the area of the hole with Paraloid B 72 Fig. 53: During the cutting of the intarsia; local bridging threads Fig. 54: The intarsia Fig. 55: Local Stabiltex lining of the intarsia Fig. 56: Detail of the striplining Fig. 57: The application of the striplining
37 The Annunciation retable After several unsuccessful attempts to consolidate the brittle paint layer with sturgeon glue from the front, the treatment was changed to Plextol B500 applied locally to the front and an additional total impregnation with Plexisol P550 to the back followed by a heat-sealing process.37 The solvent-based varnish removal and the removal of the mismatched retouching was carried out before this impregnation.38 The success of this measure was significant, in particular regarding the contrast of the colors and the legibility of the details. Filling of lacunae A filler was required to fill large lacunae quickly and precisely. A liquid filler for brush application was developed to provide a replication of the distinctive structure of the canvas without soaking the textile and without the need of extensive manual shaping of the surface.39 Fig. 58, 59: Before and after removal of varnish and mismatching retouches
38 The Annunciation retable For the smaller lacuna, it was an easier and more suitable approach to apply a more paste-like putty with a fine spatula. The mentioned formula was modified with additional filling material to achieve a paste-like consistency. Due to the amount of loss, it was decided to fill and retouch almost every individual loss down to a very small size. This fulfilled the need for additional stability of the paint layer, allowing for the checking of any future damage or loss.40 After closing the lacunae, retouching varnish MS2A in a 25% solution in white spirit 100-140 was applied on the painting. A cotton wad with fine textile covering moderately soaked in varnish was gently rubbed over the surface in circular strokes to achieve a balanced gloss. Retouching In order to achieve an aesthetic balance of the entire object and to restore the legibility of the depicted scene, a complete retouching was decided Fig. 60, 61: The area of the “bat hole” after filling and after retouching
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.
40 The Annunciation retable Quick disassembling device For future treatment and accessibility of the large painting, a system was installed that allows for its removal and reinsertion without the need for scaffolding. For this system two wooden sliding rails were mounted to the inner jamb boards of the retable. They carry two short pieces (25 cm) of aluminium U-profiles at their upper end with an opening, serving as locking slots for two runners, (Fig. 63, 64) specially formed oak dowels fixed to the painting on the back corners of the upper stretcher bar. Additionally, two webbing-belt grip handles were fixed to the back of the bottom stretcher bar for handling. Fig. 62: Installation of the rigid backing; the polyester loose-lining is visible in the right-hand spaces between the bars of the new stretcher Fig. 63: Sliding rail with U-profile and opening at the top stretcher Fig. 64: Oak dowel runner at the top bar of the stretcher
41 The Annunciation retable Protruding from the bottom border of the painting, they are to be used for lifting the painting in future demounting processes. To optimise the handling of the painting, four additional webbing-belt grip handles were screwed to the main vertical bars of the stretcher. This invisible system serves both as a means of holding the painting in place as well as a means to withdraw it from the retable with only four people (Fig.65). Once the bottom of the painting is released from the position on the predella, the painting can slide down the sliding rails. The sliding dowels at the top of the painting will pass through the openings in the sliding rails after 25 cm and the painting can then be lowered down.42 Fig. 65: Schematic diagram of the disassembling sequence
42 The Annunciation retable Evaluation The remounting of the finished painting in 2010 marked the completion of the treatment of the retable. The moderate treatment with retouches, fillings and reconstruction in defined areas restores a lot of positive aesthetic values by respecting the age-related value of the authentic original. Although general opinions regarding the treatment are very positive concerning the aesthetic appearance and achieved consolidation, some criticisms should be considered. The consolidation treatment of the painting had several drawbacks. In consequence, three different materials had to be used to achieve proper adhesion. The painting is still in a weak condition and suffers extremely from changes in humidity. The excrements of bats could not be extracted completely from the canvas, it is therefore likely that new damages, especially flaking of paint, may occur. Regular monitoring is necessary. Ordering and using a new stretcher instead of using the old one was not strictly necessary. The use of the old stretcher could have been made possible by minor changes. The whole wooden inventory of Gospa od Šunja was fumigated with methylene bromide in Spring 2002. This was a curative measure to kill the insects but has no depot effect. It is therefore likely that the retable as well as other wooden objects in the church will be at risk of new insect infestations in the future. As greater parts of the wooden construction were treated with acrylics for consolidation, some preventive effect is achieved through that application. The burial chapel dedicated to Bishop Brautić was originally closed with an iron gate. Today, the chapel serves as a transept, which can lead to soiling and wear on the valuable gravestone. The installation of a rope barrier could help to prevent it from mechanical damage and soiling. Retouching of the surfaces of the aedicula Small differences in the retouching in the gilding and in the blue areas bear witness to the number of hands involved. The extent of the retouching in the blue areas was controversially discussed and extended in some areas in order to achieve a uniform result. The aim was to calm the scattered image but avoid a total reconstruction and a dominant effect of
43 The Annunciation retable the blue-painted areas. The goal was achieved, but now some remaining non-retouched areas might result in a manneristic appearance. Integration of the painting Due to the invasive previous restoration, the painting required a different approach, including the removal of mismatching overpaint. This resulted in the reintegration and reconstruction of losses and abraded areas to restore the legibility of the painting. The reconstruction of bigger losses was done in rigatino manner to distinguish those areas from the original. However, they match when viewed from a distance and help to reproduce the spatial effect of the depicted scene. Compared to the retable, the amount and degree of retouching is higher, resulting in a more dense character.
44 The Holy Cross retable The Holy Cross retable The Chapel of the Holy Cross On the northern side of the Gospa od Šunja parish church, close to the sanctuary, the nave opens into the Holy Cross chapel now housing a retable dedicated to the Holy Cross. Commissioned by Thomas Pidelli, the chapel was erected in 1527, and was originally dedicated to St Roch, as is proclaimed by a Latin inscription
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