Műtárgyvédelem, 2005 (Magyar Nemzeti Múzeum)
Összefoglalók
mixed with distilled water. Each piece was then thoroughly rinsed with fresh distilled water. The flaws were made good with Duracryl mixed with red copper dust, thus ensuring a good colour match with the original material. Finally, after conservation with Paraloid B72, the repairs were aesthetically spot-toned with shell gold. The smaller iron artefacts were corroded across their whole diameter. Therefore the first steps in their restoration involved mechanical separation of the corrosion from the base material followed by strengthening and then repair. In the case of the sword, even from first glance it was obvious that it possessed a significant iron core, an impression confirmed by subsequent magnetic testing. Unfortunately, for technical reasons, it was not possible to have a radiograph examination carried out. Having regard to the condition of the item, surface cleaning back to the metal was out of the question, and in order to prevent further deterioration chlorides were removed from the object by using the sodium hydroxide procedure. Further cleaning of the sword back to its original contours was carried out mechanically. Passivation was achieved with tannin and conservation with Paraloid B72. The sword’s scabbard could be reconstructed with a good degree of certainty. The mounts were affixed to the scabbard and hilt that had been newly reconstructed from carved balsa wood covered with a black textile. Restoration of the fresco Madonna with the Infant Jesus by Bartolomeo Caporali. András Heitler Bartolomeo Caporali’s fresco Madonna with the Infant Jesus (Hungarian Museum of Fine Arts, Inventory No. 1306) was restored in 2000/2001 by two final year painting and restoration students at the Hungarian Academy of Fine Arts. Detached from its original setting, the fresco was purchased by the Museum in Assisi in 1895, although nothing of its earlier history is known. It was ascribed to Caporali by the Italian art historian Mario Salmi (1889-1980), and this ascription has not been challenged since. Bartolomeo Caporali (1420-1505) was a Perugian artist whose mature works display the influence of both Perugino and Pintu- ricchio; this relationship is certainly evident in the Budapest fresco. During restoration work it was discovered that the Museum's other Caporali work on a similar subject is not an independent work. This second fresco is but a fragment remaining affixed to a wall following an earlier, only partially successful attempt at detaching it. With a renewed bid to separate it from the wall a new work was effectively revealed. This is a smaller picture the centre of whose composition is the infant Jesus from the waistline upwards. Once it became clear that in fact it was layers of ground- or undercoat that one was looking at, it was a relatively straightforward task to trace the make-up of the original layers of paint. Microscopic examination of small cross-sections and pigment dust from the fresco suggested that its original colouring was considerably richer than it 199
