Kovács Petronella (szerk.): Isis - Erdélyi magyar restaurátor füzetek 5. (Székelyudvarhely, 2006)
Mester Éva: Geometrikus alosztás, felfokozott optikai hatások, visszafogott színezés. Az art deco üvegablakainak általános restaurálási problémái. A Liszt Ferenc Zeneakadémia üvegablakainak restaurálása
absorption capacity of materials is different in UV radiation than in the visible light range, so UV shots are suitable for the detection of overpainting, retouching, varnish layers, different binding materials etc. Such an end filter is necessary (UGI) that lets only the reflected UV radiation through and not the visible light. The filter has to be inserted after focusing, and the distance must be adjusted. Black-andwhite films are used for UV photos, since a monochromatic radiation is recorded. UV radiation is applied at luminescent photography as well, but this time the radiation generated in the visible range is recorded and the “luminescence” of the materials is photographed. Usually, the luminescence of the coating appears in the photos together with interventions, repairs, retouching carried out on the surface and the strokes of the brush can be seen. The luminescence of the layers depends on the binding materials and the pigments. The luminescence of varnishes, resins, oils increases by time. Oil content usually increases the intensity of emitted radiation, while siccatives can influence the colour. Copper and iron content blocks the luminescence of oil so pigments containing these materials appear in a dark shade. Other pigments favour luminescence so they appear in light shades in the photos. Colour daylight films and a transparent UV filter that filters the UV radiation but lets through the radiation generated within the visible range are used. Placing a light yellow filter (1.5 x) between the objective and the UV filter will give a more achromatic picture. At infra-red photos, a radiation of a wavelength larger than 700 nm should be used. The energy of infrared photons is low and most of the pigments do not absorb them, so most of the paint layers transmit them in (transparent) infra-red radiation. With this method, details and certain sketches covered with repainting or a coating can usually be demonstrated. Repainting, retouching and repairs appear with sharp contours. Copper containing pigments absorb infrared radiation so they can cover the underlying layers. They appear in dark shades in the photos. Infra-red photos are made with an infra camera, and then they are printed. We can also make analyses with a digital camera and an infrared filter in the nearest infra range with night-shot, or with a digital camera in a black-and-white mode. After the evaluation of the above-listed photo sessions, we can make an intentional sampling and carry out microscopic analyses. For layer analysis a sample of a diameter of at least 1 mm is needed, on which all the pigment layers can be studied in cross-section. It is important to mark the place exactly from where the sample was taken. The samples are studied under stereomicroscope (lOOx >) before embedding. With a polarisation microscope (100 x<) the stratification and the layer structure can be studied at vertical illumination. In this case, a section of the cross-section measuring 1-2 mm in diameter is prepared from the sample. The sample is perpendicularly glued on a silicone plate with instant adhesive, then a plastic ring is glued around and it is cast with transparent epoxy-resin. The embedded sample is ground and polished. Water soluble elements can be dissolved during wet grinding! The comparison of samples taken from the same object can reveal the differences between the original and the repainted surfaces and the dirt. At transmitted radiated (lower) illumination, transparent objects and samples are analysed like embedded dust samples on a glass plate, thin sections. The grain features and the optical features of the materials can be determined. We can carry out microscopic analyses of the same samples in luminescent radiation generated with UV radiation. A vertical illumination is used again in the case of cross-sections. Similarly to luminescent photography, the visible generated radiation is recorded. Any restorer with proper training and suitable equipment can carry out the above described analyses, which compose the basis of restoration documentation. Eva Galambos Wooden Sculptor Conservator MA H-l 165 Budapest, Csinszka u. 92. Petronella KOVÁCS Report on the activity of the wooden furniture restorer trainees of the Hungarian University of Fine Arts in Transylvania Object restorer artist training is carried on in the fields of wooden furniture, metal-goldsmith, paper-leather, silicate and textile-leather within the frames of the Faculty of Object Restoration in the Institute for Training of Conservators of the Hungarian University of Fine Arts. The curriculum is the same in the first 3 years of the 5-year training. The students leam theoretical subjects and also the technologies and the conservation methods of inorganic works of art. From the 4th year, the students continue their studies in the field they had chosen at entering the university. Regrettably, even thirty years after the introduction of the training, instruction is carried out in part time, usually in 40-80 hours a month, divided in one or two weeks time. Beside theoretical lecturing, practical training is also emphasised. Students restore pieces of art as a practical exam during the 5 years. As their diploma work, they conserve one or more pieces of art according to a conservation plan prepared after the study of the technology and the raw materials, unlike in the majority of foreign training institutions, where the diploma work is the planning of the conservation of a piece of art or a unit of works of art based on assessment, studies and material analyses carried out in groups. Since 2003, the students of the Object Conservation Faculty, regrettably only one or two persons in a year, can visit foreign universities for the length of a semester. Student exchange means that a number of students of the Erasmus partner institutions came to do the practical training courses or prepare diploma work with the help of the professors of the Department in the Object Conservation Faculty, or their hosting institution. Foreign universities have organised numerous excursions in other countries and the students can take part in international conservation projects, which are financed 140
