Műtárgyvédelem, 2009 (Magyar Nemzeti Múzeum)
Bernád István - Jilg Enikő: A belvárosi Nagyboldogasszony plébániatemplom gótikus ülőfülkéiben talált freskók története és a 2006–2009 közötti restaurálásuk összefoglalása
Berndd István -Jilg Enikő • A belvárosi Nagyboldogasszony plébániatemplom ... History of the frescos found in the Gothic sediles of the Inner City Our Lady parish church and the summary of their conservation between 2008 and 2009 István Berndd - Enikő Jilg A Roman period fort used to stand on the territory of the Inner City Our Lady parish church. In the Romanesque period, a church was built over its foundations, which was reconstructed in a Gothic style in the 14th century. A new chapel with ambulatory replaced the Romanesque chancel. Art history agrees that the master or masters of the frescos were Hungarian artists who had been trained in Italy. As time passed, the frescos nearly completely perished. After the excavations started in the 1930’s, the paintings were conserved in subsequent phases, then, after World War II, they were one by one detached from the wall, fixed on a support and conserved again. According to the mutual agreement of the Inner City Our Lady parish church and the Hungarian University of Fine Arts, in 2006 the frescos were transported to the Conservation Department of the university for conservation. The four preserved half-portraits of angels were conserved in the academic year of 2006/2007. The main problems with the fresco fragments transferred on an epoxy-resin support structure were the loosening of the plaster at certain places and the deposition of dirt. Wet cleaning was applied on the surface with the 5-10 % watery solution of triammonium-citrate and Triton X 100, and then the weakened areas were consolidated with siliceous ester called Funcosil Steinfestiger 300. The deeper missing areas of the plastering and the surfaces to be retouched were sealed with lime sand mortar mixed with Plextol, while the mixture of Metylan, sand, stone dust and Plextol B 500 was used where no retouching was necessary. The missing areas of the painted surfaces were replaced with invisible watercolour retouch. Three students worked on the fragment depicting Jesus on the Mount of Olives in the academic year of 2007/2008. The painting was conserved with Paraloid B 72 and covered with a protective layer, and then the ornamental plastering and the aluminium HSS frame were removed from the back of the picture. The picture was cut into three parts and then reassembled by aluminium pins. This was necessary since the sedile became smaller in consequence of the later plastering. After the removal of the surface protection, the aesthetic restoration was made with watercolour and trateggio retouch. In the academic year of 2008/2009, the authors of this study worked on the fresco fragment of the Calvary scene within the frames of their thesis work. The surface of the painting became corrugated in result of the inappropriate detachment and transfer. First a part of the sealing had to be removed. Next, the painting was soaked with the 10 % solution of Paraloid B 72 in nitro-reducer since the original plaster layer proved to be weak and crumbly at certain places. Afterwards, the synthetic mesh tissue fixed at the former conservation had to be mechanically detached 61
