Kovács Petronella (szerk.): Isis - Erdélyi magyar restaurátor füzetek 10. (Székelyudvarhely, 2010)
B. Perjés Judit - Domokos Levente - Puskás Katalin: Tíz nap a "Nagy-Küküllő felső folyása mentén" avagy hazi és vendég restaurátorok a székelykeresztúri Molnár István Múzeum születő állandó kiállításán
The central part of the engraving was cut out, the Holy Virgin and the infant Jesus were dressed up in claret silk, silk brocade, swivel silk fabric, metal threads, a small string of beads, etc. Then the backside was supported with papers containing 18th century (1780, 1782, 1783) manuscript in iron tannic ink probably to consolidate it. The earlier fate of the object is not known. It could be in a damp environment according to the water stains, brown discolourations and traces of mildew on the edge. The greyish blackish stains caused by mildew are the consequences of an irreversible process since the metabolic products of mildew tint the cellulose fibres of the paper, which cannot be removed even with wet cleaning. Beside the damages observed on the paper, the fabric also seemed faded and worn. After historical research, photo documentation and the assessment of the condition, the materials were analysed. The mildew and its thallus morphology were determined with a Novex optical microscope of an enlargement of 400x, and it was cultivated on Czapek-Dox foster-earth at 3 0 °C by 1 week of incubation. The sample did not evolve, which meant that quickly growing mildew could not be demonstrated on the object although its presence could not completely be excluded. The paper was examined with a pigment prepared after Graff’s C recipe, which showed a slightly orange colour indicating the presence of plant fibres. The pH measurement was made with a Hanna pH meter; it gave a pH value of 6.79. The conservation started with the application of 0,5- 1 % solution of Preventol CMK (para-chlorine-metacresol) in ethyl alcohol applied with a brush on the areas attacked by mildew. Dry cleaning was made with a soft brush and a rubber. To learn more about the production technology, the back cover was removed. The consolidating manuscript material was cleaned with a non-ionic detergent. After “re-sizing”, drying and pressing, the sheat was refit to the original place with a Glutofix 600 (methyl cellulose) adhesive. Smaller tears and defects were observed along the edges of the engraving. We decided to conserve them from both an aesthetic and a durability aspect. Japenese paper similar to the original one in colour and thickness was used for completion. We aimed for applying reversible solutions during conservation, as far as it was possible. The object is a private property. After conservation, we advised the owner about the storage conditions, the appropriate lighting and the evasion of the deteriorating effects of relative humidity content and temperature. We suggested that a UV filer film should be placed on the glass if he intended to keep the engraving in a frame hanging from the wall. Eva Benedek Paper and leather conservator MA Muzeul Secuiesc al Ciucului Miercuirea Cuie Phone: +40-266-311-727 E-mail: benedekeva54@gmail.com László Nemes Takách On the conservation of papier máché stuccos Papier máché stuccos were made from the first third of the 18th century generally from laminated handmade rag paper made for the purpose in blue, brown or red colour, which was glued with a paste made from rye-flour. In other cases, first a white paper layer was laid in the negative so that the colour of the coloured paper layers did not show through the wall paint. Papier máché stuccos, which were easy to transport, they could be cut with a knife or scissors, bent to arched surfaces and vaults and fixed with nails, were very popular. Papier máché stuccos are generally conserved when a building is restored, when they were soaked by leaking water or suffered mechanic injuries. The author illustrates the problems of the damaging and the conservation of papier máché stuccos of diverse structures through three items he has conserved. The rooms in the Royal Castle in Gödöllő furnished for Queen Elisabeth are decorated with hollow crust type máché stuccos. The interior cavities are closed and the edges of the motives were closed with plaster. High moisture content developed in the cavities in result of the dampness of the wall or the precipitation of moisture, which could not evaporate because of insulating, washable distemper. Moisture encouraged the development of mould on the laminated máché, the layers loosened, and the paint film that shrank as it aged ripped off the upper layers. During conservation, the paint layer was mechanically removed from the máché that had been lifted from the wall but the area that was strongly infected by mould fell to pieces. The perished parts and the motives that had earlier eroded from the wall were replaced or completed with copies moulded in plaster negatives taken from the original parts. Máché stuccos with filled in cavities can be found in the Orczy palace in Gyöngyös. When they were prepared, first a layer of white paper was laid into the negative, on which some sawdust mixed with starch was spread. Iron wires securing the stiffness of the stucco was laid over it, and then another layer of sawdust mixture was pressed over it. Finally, the back of the máché was closed with a thick cardboard painted in English red. Owing to this structure, there is barely any enclosed space left between the máché stucco fixed to the wall and the wall so no space with high moisture content can develop behind it. A mixture of unsized rag paper (flax-hemp, cotton) and pine cellulose was used for the production of the papier máché built on a lattice skeleton in the 1890’s on the walls of a civil flat in the “palace district” of Budapest. The máchés were made from layers of white and brick red paper with flour-paste so that four smaller units were glued together to compose 2 m long strips. The larger cavities were filled in from the back with a paste of wood-pulp, and loosely woven sacking was 191
