Principles and problems of retouching are dealt with in connection with one wooden sculpture (ca. 1150-75) from which almost all the polychromy was lost, one altar frontal (ca. 1300) on which only fragments of the pictorial representation were preserved, and one sculpture (ca. 1520) with partial losses in an otherwise well preserved polychromy. Each item was treated individually, taking into account the original painting technique and state of conservation. Chief aims were neutralizing the effects of the damaged areas and at the same time leaving the damages easily recognizable. Parallel brush strokes ( rigatini ), commalike strokes without any particular direction, and glazes were among the methods chosen.