F. Mentényi Klára szerk.: Műemlékvédelmi Szemle 1995/1-2. szám Az Országos Műemléki Felügyelőség tájékoztatója (Budapest, 1995)
MŰHELY - Boromissza Péter: A siklósi plébániatemplom középkori falképeinek restaurálása
medieval surfaces and the removal of the later plaster layer from the other surfaces went on parallel. In this period did the injection and fixing of the medieval plaster take place. Beside the removal of the 20th century plaster made with cement it was a difficult problem to do the same with the thick and glass-hard white-wash covering the medieval surfaces. The first phase of aesthetic restoration meant the completion of the missing layers of plaster and the stuffing of the missing parts of the original surfaces. Following this it was necessary to find a solution at the aesthetic restoration of the different parts of the remained wall paintings in the choir hat was not influencing the historical point but was aesthetically adequate. Excessive replacement and completion was rejected, together with didactic completion. We were 100 king for such structure and handling for completing the plaster that agreed with the missing surfaces in colour and tonality and was modest enough to let the wall paintings to be in the centre of interest. The whole surface of the choir is a little more than 400m 2 . At the finishing of the investigations a photogram metrical surveying was made of the whole surface. On these drawings the completed surfaces were signed, and the so called „giornatas" as well, and also the points where sampling was made for the investigations of the material and pigment. The component of the plaster is corresponding with the material of the near-by sand pits. The differentiation of the two medieval layers was proved by the différencies of the plaster and pigment samples. In the course of the final retouch the purpose was to show the original, incomplete wall painting, with such a completion of aesthetic defects, that helps the visual form, but is not at the expense of authenticity. Practical work was preceded by a lot of experiments, in the course of which the solution of the retouch became clear. In the course of the restoration it was also possible to conclude to the technical methods used by medieval painters. On the basis of the place of the day finish of the second, end of the 15th century paintings, the work was begun on the ceiling, and they went of in bands, downwards. The painting of the choir might have been the work of 6-8 persons lasting for one or one and a half months. On the basis of the analysis of the faces on the wall painting, we can differentiate six masters of different quality.
