In the fresh plastering typical of the « a fresco »techniques,
carved marks show that a drawing has been made on paper,
then transferred onto the plastering, and finally drawn again by means of a solid bony or metallic head.




This «tracing» marks on this detail the outlines of the lantern of a soldier in the Arrest of Christ.

On the Saint Michael in the Last Judgement, the carvings outline the armour.

This armour was originally covered with tin sheets, oxidized today.
The adhesion of these sheets to the plastering was obtained by means of a mixture (oil and gum), here placed upon an yellow ochre coat.

On the character of the centurion in the Crucifixion of La Brigue, the metallic elements protecting the shoulders and the arms have a carved border.


The beautiful central pattern of the tunic has been transferred by means of a stencil.


Many brush strokes and superposed colours give density and relief to the hair.

Painting -