Prékopa Ágnes (szerk.): Ars Decorativa 32. (Budapest, 2018)
Miklós GÁLOS: An Antonio Tempesta Rediscovered in the Collection of the Museum of Applied Arts, Budapest
lazuli in the Medici and Barberini collections clearly describe the objects as paintings {quadro). The inventory information on the picture from the Di Castro collection mentions one picture-hanging loop, which makes it unlikely that the work was hung freely so that both sides were visible. That the translucent stone painted on two sides was meant to be hung on the wall like a typical picture tells us that the desire for luxurious representation took precedence over the work’s decorative function. Archival information about the Louvre’s Pearl Diving provides further assistance in determining how paintings on stones were used. The inventory record book entry dated 31 March 1618, well over a month after the painting’s arrival in the Guardaroba Medicea, follows up its thorough description of the picture and its frame with a remark that the work was kept in a box lined with black velvet.69 Apparently, pictures such as these may have been safeguarded as precious treasures in aristocratic studiolos or a Kunstkabinett. Their owners would have shown them to distinguished, knowledgeable guests with exquisite taste. 6. Towards restoration The discovery of this work made by Antonio Tempesta for an aristocratic patron, which even in its ruined state preserves hints of its once sumptuous nature, demands that we do everything we can to save it. It is imperative that we attempt to restore it, even if it is obvious, given its condition, that a complete restoration is hopeless, and traces of its ruined state will always be visible. The Museum of Applied Arts’ Friends of the Museum, recognizing the importance of the work, agreed to cover the costs of restoring the work, while the museum has undertaken the restoration and partial reconstruction of the frame. Restorer Ágnes Kuna undertook the restoration of the painted lapis lazuli. Comprehensive technical examinations were carried out, followed by the cleaning of both painted sides of the stone, with already visible results. {Figs. 15-16) Once the additions were removed, it became clear that the partial destruction of the support had resulted in a twenty percent loss of the painted surface. Furthermore, despite intensive research, no pictorial or textual sources are available for the reconstruction. It is fortunate, however, that the losses affect the upper part of the picture; thus only the background of the Garden of Eden depiction on the recto requires touch ups. The verso, however, suffered a worse fate, with the head of the main figure in the composition, Moses, lost. It also became apparent during cleaning that the surviving parts were surprisingly intact. The original, richly detailed surface, free of any earlier retouches, emerged from beneath the dirty layer of varnish and the easily removable areas of primitive repainting. Although the support was difficult to handle, there was little flaking, as the paint was well bound to the stone. At the same time the frame was cleaned as well. At present, the lost inlays are in the process of being replaced, using information provided by the analogous frame. This work is being carried out by Mrs Mária Szilágyi Szabó, the museum’s chief restorer. The results of the technical investigations, the process of restoration and the decisions made along the way will be discussed in a later article. We hope that, once re29
