Műtárgyvédelem, 2006 (Magyar Nemzeti Múzeum)
Összefoglalók
possible and the rib was lined inside with maple plates of cut in a radial direction with the grain direction across that of the rib. Then the thin fissures were filled in with hard black wax. The pressing of the back plate was interrupted only for the time of treatments. The areas between the splits that ran against each other were cut diagonally under the gluing surface of the struts to pervade later tensions. Prior to it, the maker’s label and the one glued inside the instrument during of the former repair, which had already been torn, were tested for stability and carefully removed. The fact that the maker's label had formerly once been restored made this operation rather difficult because we had to be careful to keep the support of the label intact. We discovered during the cleaning of the labels that the date written in ink was rather 1809 than the date 1792 noted on the inventory card of the object. This information questions the identity of the maker: the guitar could be made either by J. G. Leeb II or J. G. Leeb III. The clarification of this problem needs further studies. To preserve the original outline of the instrument, splints were inserted between the two elements of the back, which was fixed with an iron bar until they adhered. The splints were inside supported with small wooden plates. The next step was the refitting of the struts after the removal of the remains of the former gluing. Only after this could the labels be glued back to their places. The missing bridge was replaced with cattle bone and the small missing part of one of the frets with ivory. The next step was the closing of the body by the help of wooden clamps and the retouching of the wooden completions and the injured varnish. Finally, with the help of the two ebony machine heads decorated with mother-of-pearl, prepared after the preserved ones, the guitar could be completed with synthetic string imitations of diverse thickness. It is not advised to be tuned with real strings. The object was restored within the frames of object conservator training in the co-operation of the Hungarian University of Fine Arts and the Hungarian National Museum in 2003-2004. Petronella Kovács supervised the diploma work. Restoration of a cabinet preserved in a private collection Péter Zágoni Regarding its structure, the cabinet stands close to the double-door Augsburg models of the 17th century. Behind the doors, we find a cabinet interior with many drawers, which is decorated with details borrowed from the scenes in the inlay ornament of the doors. A new body was prepared to the 17th century doors and the drawers of double front panels probably in the 19th century. The surface of the object was very dirty, and the varnish was spread on it in several layers. The chasing got worn or entirely disappeared at several places in consequence of former interventions. The shell of the cabinet was structurally stable, the top was slightly warped. Longitudinal fissures could be observed on the doors. The ebony overlay got wrinkled at the top and the bottom and it was missing at several places. The bone fillet arc on the right door, which was decorated with ribbon-shaped enchasing, was completely missing. The moulding on 191
