Véri Dániel (szerk.): A Ferenczy Múzeumi Centrum Évkönyve - Studia Comitatensia 35. (Szentendre, 2017)
Restaurálás - Lukács Katalin–Schrett László–Győri Lajos: Ortodox ikonosztáz restaurátori kutatása a százhalombattai Isten Anyja születése templomban
STUDIA COMITATENSIA 35. - A FERENCZY MÚZEUMI CENTRUM ÉVKÖNYVE Katalin Lukács - László Schrett - Lajos Győri RESEARCH FOR THE RESTORATION OF THE ORTHODOX ICONOSTASIS OF THE NATIVITY OF THE BLESSED VIRGIN MARY CHURCH IN SZÁZHALOMBATTA The first Serbian Orthodox church, built in Százhalombatta in 1720, was made of wood. The current stone church was built in 1750 in baroque style, the icons - created by an unknown artist - were installed in the church interior around 1770. Previous research suggests that the icon panels and the supporting wall were repainted in the second part of the 19th century (around 1875), while there were repairs and minor alterations in 1968. Apparently, the altar screen of the church is not of the same period as the building, it must have been made earlier, for a larger church. The Office for the Protection of Cultural Heritage ordered the restoration of the back of the icon screen due to an ongoing insect infestation. The icon panels had to be removed from the icon screen for conservation and the replacement of the beams. Based on the professional jury’s opinion it was better to examine the icons, the gates, the crucifix and the icon screen with restoring methods simultaneously with the restoration of the reverse side so that the results could serve as a starting point to prepare the restoring plan. We conducted non-destructive photo and sampling examination during the research. The following answers were sought: in what condition is the current decorative painting and the gilding, which elements are of the same period? What previous, uniformly uncoverable layers are to be found under the repainting? Based on the examination of research windows and microscopic cross-sections, the original marbled painting of the icon screen is not uniformly uncoverable. Neither the carvings, nor the additional ornaments or the frames can be treated uniformly neither by their production technique nor by layers. Research proved that the icons, the icon screen and its ornaments originate from different places and from different periods. The original icons did not form part of the icon screen, their installation was secondary; they were altered and repainted. The only uniform period in the known history of the iconostasis is post 1875, the restitution and restoration of which would not harm either layer of the iconostasis and would also make the work aesthetically more acceptable than its current condition. 275
