Kovács Petronella (szerk.): Isis - Erdélyi magyar restaurátor füzetek 3. (Székelyudvarhely, 2003)

Erdélyi - romániai magyar vonatkozási múzeumi restaurátor publikációk

until conservation. The study offers information on packaging, means of shipment and the various stages of the restoration of leather artifacts. It emphasizes the importance of documentation, photographs, drawings and detailed descriptions of the site. The study acquaints us with mechanical and chemical cleaning procedures as well as conservation techniques involving water solutions of multiple alcohols.

It discusses in detail the various options used for desiccation, these being: controlled drying at room temperature, use of solvents and freeze drying. The author provides practical information on gluing, completition and the reconstruction of leather finds unearthed in several pieces.

In the case of archaeological leather finds the completition and reconstruction of artifacts is often impossible without inflicting damage upon the original pieces. In such cases the author finds that creating a reconstruction of the original find is the most suitable option.

Judit Bakay-Perjés

Archeological and applied art restorer MA Budapest History Museum 1250 Budapest Pf. 4.

Lecturer at the

Hungarian Academy of Fine Arts

Márta KISS-BENDEFY

Restoration of an 18th century guilt leather chasuble

The material of the chasuble under discussion here is one that is referred to as guilt leather in several languages (gilt leather, corami d'oro, cuir d'oré, goudleer), although it actually had nothing to do with real gold. Without the use of gold leaf a large, decorated surface with a golden glow was created exclusively by way of imitation. The study elaborates on this exceptional method of leather ornamentation, its history, the reasons behind the disintegration of guilt leather and the restoration of a guilt chasuble made with this technique.

Several descriptions of the preparation of guilt leather exist from the period under discussion here. The authenticity of these recipes was tested by the analysis of artifacts from the same period. The leather used for the technique was most often vegetable tanned sheep or calf skin. The surface of the thus prepared leather was then covered with thin silver leaves,

usually glued to the surface of the leather with parchment glue or egg white. The silver was then polished and a layer of egg white was then added to prevent the tarnishing of the silver due to corrosion.

The main outlines thereafter were pressed onto the leather using wooden molds. Surfaces designated for the gilded look were covered with a yellowish-brown varnish that contained linseed oil and natural resins. The thus varnished surface as well as the silver covered parts were further decorated with pressing, pounching of the background and painting.

Leather prepared in this way was primarily used for luxurious wall hangings, but furniture and folding screen coverings, coatings for boxes and trunks, as well as for altar fronts and cashubles.

According to catalogues from the 18th and 19th centuries guilt leather objects were very popular in Hungary as well. An exceptionally great number of guilt leather vestments can be found in museums and church collections (Hungarian National Museum, The Christian Museum of Esztergom, etc.) The Treasury of the Gyor Church District is further enriched by a rare, bell shaped cape (pluviale).

Leather objects are threatened by numerous factors. Their condition depends on the raw material used, use wear, the circumstances of storage and earlier restoration attempts. The study describes the effect of these in detail.

The restored cashuble is the property of the Treasury and Library of the Gyor Church District. It was made in the 18th century but the place of production is unknown. Its material, most probably sheep skin tanned with vegetable tanning materials, sustained substantial damages probably due to moisture. Its material was greatly weakened, warped, torn and incomplete.

The grain layer of the leather, together with the silver leafs glued to its surface, the "gold" varnish and the paint layer were cracked and weakened in some places. The whole surface of the object was dusty. Due to the extensive damage to the leather the front and back part of the vestment had to be separated as well as the lining removed in order to gain access to the back side of the garment and patch the tears.

Because the surface of the leather is sensitive to moisture its cleaning had to be done mechanically, with the use of soft brushes, vinyl eraser on the complete sections and vacuum cleaning through textile. The deformities of the object were corrected following its humidifying and mounting on a board. This was followed by the completition of missing pieces and supporting the torn and weakened portions using veg-113