Conservation around the Millennium (Hungarian National Museum, 2001)

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introducing the synthetic resin between the layers of the negative with a syringe. The good cast mirrors the original surface. To refine the surface I used shaving tools and precision file. Finally, the artificial resin was smoothed with steel wool and felt disc. I chose Neoflex putty diluted in H-1000 synthetic solvent for the filling in of the inner surfaces. I used a scalpel to remove the excess resin (Fig. 3).

Reconstruction of ornaments and patterns

To retouch the completed surfaces, I used coloured Neoflex putty diluted in synthetic solvent, because this is also of polyester base and fits well to the material of the completion. The surface was smoothed with fine polishing paper and moist cork. The enamel paint was retouched with oil paint mixed with dammar varnish, because its covering properties are good and it fits the full, strong colours of the object. Dammar varnish mixed to the paint gives a matte shine after drying and protects the surface at the same time. (Fig. 4).

The best method for the reconstruction of the silver surface proved to be a lacquer paint of nitric base called Dupli Color. I tested the paints of different hues and their mixtures on prepared artificial resin plaques to see if the surface needs to be modified with a varnish that gives a darker tone, or they themselves can recall the warm silver colour of the original surface. For retouching, I mixed the two appropriate hues and diluted them in amyl acetate before applying the paint on the surface (it postpones the drying of the paint). The surfaces of the retouched

5. The preparation of silver coating

6. The restored glass object

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