Most existing research is art-historical or ethnographical and our current understanding of the painting process is based on twentieth century texts and observational studies [3,4,5]. A ground (likely containing chalk) or a preparatory paint layer of white colour might have been applied to the support [3, 4], although more recent research [5] and visual inspections suggest the wooden board was simply painted over with oil paint which also formed the background colour of the painted motif (this paint film is often brightly coloured, but can be white as well). Once the foundation layer dried up, the composition was stencilled or drawn with a pencil; this was then painted out such that forms were filled with mostly basic colour tones (modelled or not), and then painted further with details and contours. Each layer of paint was left to dry before the next one was applied. Oil paints, probably hand-made using locally available linseed oil as a paint binder and oil of turpentine as a paint thinner [5], might have been used in most cases, although tempera paints and binders such as poppy seed oil, mastic resin, egg white and egg-varnish tempera are mentioned as well [3, 4]. Among the colouring agents possibly used for paint preparation, durable mineral pigments of local production are generally mentioned [5], including earth pigments, golden ochre, Indian red, sooth black, vine black, cinnabar/vermilion, green earth, Schweinfurt (emerald) green and ultramarine [4]. Painted panels might have even been originally coated/varnished with bleached linseed oil mixed with mastic resin [4].
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