preparatory
brush drawing grey: fields 3-8** red-brown:
in the other fields |
black to grey |
black to grey |
black to grey |
|
on some places
the painting is separated by a lead white layer |
|
lead white
layer, suppressing the sharpness of the black
drawing, oil bounded |
plastic haloes:
the material is composed of brown, yellow and
red ochres with a black admixture /only in the
3rd field - The Last Supper/ |
the plastic
ornaments contain grey siliceous material with
an admixture of yellow and red ochres bounded
with corn starch, glue added |
the plastic
ornaments contain grey siliceous material |
plast, ornaments
containing grey siliceous material are bounded
with starch, oil and protein; on the surface
of the robe are placed on oil bounded layer
of red ochre and red lead |
|
the gold foil
is fixed on coulourless
oil paint, sometimes with an ochre undercoat |
the gold foil
lies on a greyblack oil layer /chapel of St
Erhard and St Otilia/ |
oil gilding
on the pastiglia |
the binding
medium of the paint /tempera/ is insoluble and
contains proteins only - clearly lime casemate |
painting bonded
by proteins with the
addition of oil /the oil part varies in
individual layers/ |
oil bunded,
some layers contain in addition to oil also
proteins; solely lead white, vermilion and azurite
are oil bounded |
painting bonded
with proteins with an admixture of oil; the
amount of oil varies in layers /analogously
the glazes; sporadically only with proteins/ |