APA 6th Edition Orlić, A. (1991). Ukras aureole kao mogućnost prepoznavanja autora. Peristil, 34 (1), 25-29. Preuzeto s https://hrcak.srce.hr/139596
MLA 8th Edition Orlić, Alma. "Ukras aureole kao mogućnost prepoznavanja autora." Peristil, vol. 34, br. 1, 1991, str. 25-29. https://hrcak.srce.hr/139596. Citirano 19.09.2021.
Chicago 17th Edition Orlić, Alma. "Ukras aureole kao mogućnost prepoznavanja autora." Peristil 34, br. 1 (1991): 25-29. https://hrcak.srce.hr/139596
Harvard Orlić, A. (1991). 'Ukras aureole kao mogućnost prepoznavanja autora', Peristil, 34(1), str. 25-29. Preuzeto s: https://hrcak.srce.hr/139596 (Datum pristupa: 19.09.2021.)
Vancouver Orlić A. Ukras aureole kao mogućnost prepoznavanja autora. Peristil [Internet]. 1991 [pristupljeno 19.09.2021.];34(1):25-29. Dostupno na: https://hrcak.srce.hr/139596
IEEE A. Orlić, "Ukras aureole kao mogućnost prepoznavanja autora", Peristil, vol.34, br. 1, str. 25-29, 1991. [Online]. Dostupno na: https://hrcak.srce.hr/139596. [Citirano: 19.09.2021.]
Sažetak The discovery and recognition phenomenon is a constant in the process of art conservation and restoration. While cleaning the painting Christ with Halo in search for its original layers (inventory No 4570, oil on canvas, 55 x 42 cm, from the Museum of Arts and Crafts storerooms), I found out that the painting had been made in the technique of a very early 15th century tempera. Besides the real gilding and gilt ornaments, the halo has an additional hand-impressed tendril-like decoration the artist freely sprinkled over the whole surface of the painting. The two unpainted bottom corners suggest the distant presence of an ornamental frame or a part of architectonics.
While restoring the polyptych Our Lady with Saints attributed to the 15th century Dubrovnik painter Matko Junčić (for the Golden Age of Dubrovnik exhibition, Muzejski prostor, Zagreb, 1987), after removing the layers painted over the original, I discovered a halo identical to the one described both in terms of technology and style. At the same exhibition I found out that the polyptich Our Lady with Saints attributed to Ivan Ugrinović is also adorned with the halos bearing the same traits. Besides an absolute congruence in technology and in painterly approach, all the other details such as curls, the figures' expressions, their clothes and posture correspond as well.
On the basis of the abovementioned information I believe the painting from the Museum represents the figure of S. John. It is probably a part of the lost crucifix, made by the Dubrovnik school of Ivan Ugrinović or Matko Junčić.