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
brown was gained from the concoction of dried oak-gall. Walnut stain and aniline dyestuffs were also used in the 19th - 20th centuries. White onlay on a white skin is considered the oldest type of decoration on folk leather clothes. This onlay of a continuous tendril ornament was preserved the longest in Transylvania, where it was prepared even in the 1930s. The flower-shaped ornament made with the threading of 2-3 mm thick leather strips was another popular ornamental motive. Later more and more colourful flower embroidery became dominant beside the tassel, trappings and sequin ornaments. Embroideries were made with silk thread, which was often replaced by wool and cotton thread in the 19th-20th centuries. Where did these folk clothes disappear? We could suppose that a rich collection can be found in the museums of Székelyföld. In reality, however, not a single item can be found in the Tarisznyás Márton Museum in Gyergyószentmiklós, four pieces are kept in the Haáz Rezső Museum in Székelyudvarhely, eleven ones are preserved in the Molnár István Museum in Székelykeresztúr, and about 30 items can be found in the Csíki Székely Museum in Csíkszereda. It would be important to secure the privately owned objects in museums before purchasers seize them who take advantage of the old owners. The museums, however, must provide a suitable storage since furry skin collections are the most harmful units of collections. Fur, especially if it is fatty and dirty, is an attractive food for insects. The larvae chew holes in the fur. They chew the hairs of fur close to the skin, so when the object is moved the hairs fall out in bunches. They eat wool embroidery threads as well. Mechanical injuries (unstitching, tearing, holes) and dirt (dust, fatty depositions, food stains, bled dyes) can originate from use or improper storage. The strong acids used in the manufacture of the 20th century can cause hydrolytic decomposition. In effect of durational moisture, the tanning matter can be dissolved and the skin becomes hard and rigid, it can change colour, micro-organisms can proliferate, which weaken and stain the skins. With the world-wide known methods of preventive conservation - the assessment of the collections, proper storage, ensuring a pest free environment etc. -, the deterioration of clothes made of fur can be reduced to the minimum. The author and her colleagues elaborated a data sheet, on which the condition of the objects kept in collections in Transylvania, the Gyimes and Moldva Csángó territories can be assessed, the technology can be described and a procedure of the interventions can be determined in order to rescue these objects. The study describes certain disinfectant procedures, it lays emphasis on delicate dusting, deals with cleaning with wet solvent packing and on the basis of minimal intervention suggests that the completion and reconstruction of the embroidery should be made on a photo of the object instead of the original object. Judit B. Perjés Object, Metal and Goldsmiths Conservator MA H-1067 Budapest, Thököly út 10. Éva MESTER Geometrical subdivision, exaggerated optical effects, restrained colouring. General restoration problems of art deco glass windows. Restoration of the glass windows of the Liszt Ferenc Music Academy in Budapest The Music Academy of Budapest built after Flóris Korb and Kálmán Girgl’s designs between 1903 and 1907 is the symbol of music life in Hungary, an educational and concert centre. The ornaments of the building were made with the co-operation of Hungarian artists’ and industrial artists groups. Miksa Róth was commissioned to prepare the decorative glasses and the glass mosaics. Both the designs and the execution were made in the Róth workshop. The turn of the 19th-20th centuries brought a new trend in the use of materials and colours. The surface painting of glass ceased partly or entirely, and the stress was shifted onto optical effects and the graphic pattern outlined by the lead grids. Most of the windows and door panels of the Music Academy are leaded, and only a few were prepared with acid etching technology. The applied reticular composition system, which totally contradicts the leading technique, makes the window panels extremely exposed to injuries. Leaded windows can be seen in the most representative parts of the Music Academy: in the vestibule and the corridors along the large hall on the ground floor, in the upstairs vestibule, in the staircases and on the walls of the Large and the Small Halls. The glass restoration campaign in 2001-2002 did not extend to the windows of the lecture rooms and a few of the windows of the staircases. The glass windows and the wooden doors and windows were repeatedly repaired with handicraft methods. The glass completion of different shades and textures, the new lead grids that have changed the graphic design of the composition, the surface deformations and overpainting coming from the careless painting of the door sills were the aesthetically most disturbing elements beside the broken and missing glass fragments. The windows and doors, which were designed with a weak structure to offer a more favourable visual effect, sagged and deformed under the too heavy lead grids, and the wings could often not be closed and fixed. The warping of the frames, the corrosion of the lead grids, the aging of the sealant led to the deformation of the leaded glass panels. First the warped, defective and damaged wooden frames and cases were repaired with joinery work. The glass windows were restored in a temporary restoration workshop set up in the building. The exchange of the former glass completions of uncountable shades and patterns started with the cutting of the lead grids with an electric hand tool and the removal of the glass replacements. Austrian sheet glass was used to replace the light green and light yellow glasses. It was more difficult to obtain colourless glasses. The so-called garden glass no. 28 once produced in the Sajószentpéter glass factory was the suitable one. Its shade and pattem agreed with the original. Its thickness was different by half a millimetre, which was advantageous 144
