Kovács Petronella (szerk.): Isis - Erdélyi magyar restaurátor füzetek 7. (Székelyudvarhely, 2008)
Herceg Zsuzsanna: Új anyagok, új eljárások a szilikátalapú műtárgyak restaurálásában
Finally, the author describes his major facade reconstructions in five chapters. He tries to give such a detailed description that the reader can get really serviceable information. He does not avoid mentioning the failures since the same mistakes can be evaded if these instances are known. The most important statements of the study are the followings: Traditional repair technologies, especially the application of lime, can be advised even to date since they are advantageous and economic. Hydrophobing can cause more damage than profit if it is used without careful consideration. Nothing can justify hydrophobing in the case of a real conservation. The application of synthetic resins either for reinforcing or as paints is nearly certainly deteriorating. They should not be used. As far as it is possible, inorganic materials should be used in all the phases of the working process. Cement, however, should be avoided: nothing can justify its use on historic fay ades. The only possible exception can be when no original material has been preserved in the fayade. The demand of reversibility is even less sensible in the case of fayades than in other fields of conservation. Instead, we should consider the possibility of a later conservation. This should be the main regard at the planning of the interventions. The valuable works of art discovered during the investigation should not be uncovered. If they are already uncovered, they should be taken off or covered with a lime-and-sand mortar. We are not yet capable of preserving them. István Bóna Painting conservator MA Hungarian University of Fine Arts H-1062 Budapest, Andrássy út 69-71. Miklós Szentkirályi Identification of a Venetian painting with conservation methods Tiziano Vecellio: Mary introduces her son to Saint Paul A listed work of art formerly attributed to an unknown Venetian painter was sent to auction as a painting probably painted by Tiziano Vecellio. The art historian who studied the painting dated it from the beginning of the 1540’s according to stylistic traits that were characteristic of Titian’s middle phase. He found a reference in the chapter on Titian’s biography in Ridolfi’s book „Le Maraviglie delFArte” to a painting depicting Madonna with Saint Paul, which Ridolfi had seen in the collection of Francesco d’Este earl of Modena. The inventory taken of the collection at the beginning of the 1700’s mentioned a painting from Titian: “Virgin Mary introducing her son to Saint Paul whose right hand rests on a broadsword”, and gave the measurements. The description matches the painting preserved in Budapest, and the measurements are also identical. Beside the written sources, the investigations carried out by the conservator contributed to the verification of the identity and the authorship of Titian. The painting was distorted by the yellowed varnish and alien repainting, which could be localised in ultraviolet and infrared photos. At the uncovering, the support could be observed in the worn areas. It was a thin-threaded canvas of identical warp and filling threads, which is mentioned in 16th century sources as renza. Titian used canvas of thin threads especially for the smaller paintings. The very thin gesso priming, which contained a lot of glue, barely covered the threads of the canvas. A richly segmented architecture characteristic of Titian appeared under the brown background in the infrared photos. The master did not make sketches for the complete composition although he marked the outlines of certain coloured areas, which he later changed a few times during painting. It could be observed in the X-ray shots that the dresses of the figures were significantly changed. Titian painted this composition in several versions at different times, one of which is preserved in the Hermitage. The postures of Madonna and the child are nearly identical in the two paintings, however, the painting technique of the painting in Saint Petersburg is more mature and it is dated from the 1560’s. The painting in Budapest is regarded to be earlier. In the Budapest painting, Saint Paul can be seen right of Mary, while Magdalene stands at the same place in the painting in the Hermitage. The latter one has another version, which is preserved in a private collection in York. It is dated from the period between the two above paintings. In the Budapest painting, Mary’s kerchief covered the child’s body in the sketch, while he is naked in the final painting. The neck of Mary’s dress was painted by lead white in a V shape, while it became rounded in the final painting. The X-ray photo revealed that an evangelist was first sketched on the canvas with rolled up sleeves holding a book and writing a book (?) with the right hand. In the finished painting Saint Paul is depicted in a Roman military uniform wearing leather armour, a “Titian-red” legionary cloak holding a sword in the right hand. Mary and the child were painted in a single event, while the painter took more time to finish Saint Paul’s figure and he applied several layers. There are no coherent outlines sketched in the painting, nor a network or a grid. No monochromatic underpainting can be observed, while we can find many examples of lead white contours marking the borders of colour spots and shapes, constant drawing during painting and folds marked by coal. It is not the multitude of pigments that determine the strong colours of the painting but their excellent quality, the method of their application and the high standard painter’s skill. The bold modification of the first version during painting and the excellent outcome 143
