Műtárgyvédelem, 2011 (Magyar Nemzeti Múzeum)
Pataki Anikó: Késő reneszánsz rátéthímzéses selyemfüggönyök restaurálása
Pataki Anikó • Késő reneszánsz rátéthímzéses selyemfüggönyök restaurálása In each case, the silk atlas background fabric - soiled, incomplete, and in a weak condition - was stuck to flaxen linen. The appliqué was attached along its edges to this background fabric using thick white thread. The embroidery originally decorating the surfaces of the appliqué had been taken off. Modern-age braid had been sewn along the appliqué’s edges, which had been cut unevenly. Before the commencement of the conservation work, drawings of the hangings were made on a 1:1 scale on Melinex film. On these drawings were recorded cut lines, places where material was missing, areas of wear, old repairs, adhesive materials, and the stitch marks of the embroidery. As the first step in the restoration, the different pieces of silk were taken off the linen backing and affixed to the above-mentioned film, which in the meantime had been mounted on a Nikecell sheet. After the performance of cleaning trials, the more robust pieces were cleaned using Hostapon T anion detergent foam, while the more delicate ones were cleaned with water alone. When cleaning had been completed, the pieces were arranged and pinned to their rightful places on the drawing. Because of the weakness and fragility of the silk fabrics, we decided that in a departure from the original technique, we would not place the background parts and the appliqué pattern parts next to each other on a single plane as on a mosaic, but would, in the case of each hanging, undergird — across the entire area of the artefact - the pieces belonging to the background with fabric that matched them in colour. This fabric was covered with crepeline. We then sewed on the pattern parts, which had been cut out one at a time, backed separately, and covered in crepeline. The fabrics of the hanging that was conserved first were largely complete; in this case, a layer of coloured cotton atlas was placed underneath the red silk fabrics. The second hanging was less intact and the backing materials chosen would be visible over a larger area. In other words, on the surfaces that needed to be made good, the character of the materials selected would have a big role. On this second artefact, we used a layer of coloured cotton linen and pure silk satin material. The surfaces of the fabrics were covered with pure silk crepe, which gave greater protection to the fragmentary parts. In order to cover the edges of the appliqué, new braid was made, which we sewed on, faithfully following the drawing we made of the pattern. Finally, the hangings were lined with thin cotton atlas; a gold-coloured artificial silk strip was put onto the outer edges. A szerző cime/Author s' address: Pataki Anikó Textilrestaurátor művész/Textile conservator MA Iparművészeti Múzeum 1133 Budapest, Garam u. 23. Tel.: +36-1-456-5136, +36-30-435-4955 E-mail: pataniko@imm.hu , pataki.anikol@chello.hu 111
