A műemlékek sokszínűsége (A 28. Egri Nyári Egyetem előadásai 1998 Eger, 1998)

Előadások / Presentations - Svetla KOINOVA METCHKUEVA: Two thracian tombs in Bulgaria entered in the world heritage list

-The proportions of all plastic elements of the aedicula correspond to the proportions of the analogous elements inside the tomb: the size of the capitals, the details, the thickness of the framing profiles, etc. -The more accomplished status of the aedicula means that this architectural element of complex assembly - due to the need for each element to fit in strictly - could only have been executed outside the tomb, since the required precision would have been difficult to attain in the comparatively narrow burial chamber. The making of the aedicula was in parallel with the workon the tomb itself. -The fittings inside were prepared in advance, with the respective beds to hold the elements of the aedicula. Such beds can also be seen of the level of the metopo-triglyph frieze and the protruding key stone on the same level. On the base, between the two sarcophagi, there is another bed which was prepared to hold one of the columns of the aedicula fixing its exact position in front of the male sarcophagus. This bed is one of the most categorical proofs substantiating the assertion that the aedicula was present at the very initial stage of the construction of the tomb. The allegation that the aedicula was introduced later raises the pertinent question: Is it possible that, while demonstrating an exceptionally high plastic culture, the builder had taken an unclear decision concerning the most central and most important place - the sarcophagus of the buried nobleman? There, between this sarcophagus and the sarcophagus of the woman, lies a large, higher stone block, more rudely worked, with a sunken bed, This stone block had obviously a special purpose, and it should have remained hidden after the placement of the aedicula. -Another serious argument is the fact that the decoration on the male sarcophagus is not plastic but flat and resembles a silhouette. This means that another stone surface should have been placed upon it: Thus the need for a plastic detail right at that place becomes unnecessary. Unlike the male sarcophagus, the female one, although of secondary importance, has a rich plastic decoration because it must remain visible. Had the aedicula not formed part of the initial design, the situation would have been entirely different. Hence the conclusion that the entire architectural ensemble of the tomb has its apogee in the main event the burial of a Thracian nobleman. The glorification of the nobleman is executed by means of the aedicula which is a sacral symbolic element, and which creates the illusion of doors of a temple in the temple, in harmony with the hierarchy of the deceased. The method which was used in remaking the fragments in not new. It was used in antiquity. Why have we used it then? The method is in conformity with the eventual continuation of the movement of the tomb, of which there is direct evidence, and meets several compulsory requirements: 1. To ensure the constructive restoration of the fragments, i. e. not to rely on a gluing material but on the constructive connection between the elements. In this case, stone cylindrical sleeves were used, which were placed under such an angle as to leave the broken element suspended, depending on the shoulders of the sleeve and on its slope. 2. The fragment must not weaken. The insertion of the same type of material, as is the stone of which the sleeve is made, contributes to strengthening the fragment. 3. The method must be restricted to the use of naural materials having properties close to those of the original. To avoid using metals, for they are threatened by corrosion or other dangerous influences (for example, in the event of a sudden movement of the tomb the metal element could cause a fracture elsewhere because of its strength). Avoiding the utilisation of materials that are strange to the original aims to preserve the value of the monument. Some modern restoration technologies and materials failed the test of time; we have witnessed this, especially in stone restoration. 4. Considering the monument's antiquity, the chosen method meets the aesthetic criterion concerning the restoration of the fragments, namely to leave no visible traces of interference. A minimum amount of resin