Czére Andrea szerk.: A Szépművészeti Múzeum közleményei 105. (Budapest, 2006)

ANDRÁS FÁY - MIKLÓS GÁLOS: The Restoration of Maarten van Heemskerck's Budapest Lamentation Panel

DETAIL OF FIG. I UNDER RESTORATION of Bolognese chalk, and smoothed down the protruding parts of the fillings. We underpainted the white fillings in watercolour (fig. 6). The surface was covered with a new coat of varnish, consisting of dammar varnish dissolved in pure white spirit. On the gaps and fillings we used oil, retouching them with a glazing technique. On the vertical fillings, where the gaps appeared along sharp lines, we generally used thin, graphic retouches in order to make them fit neutrally into their environment in the case of their endarkening. THE OVERPAINTING We can only surmise the date of the extensive overpainting covering five figures of the composition. The fact that it was possible to remove overpainting with an organic solvent indicates that a longer period must have elapsed between the production of the painting and