Kovács Petronella (szerk.): Isis - Erdélyi magyar restaurátor füzetek 11. (Székelyudvarhely, 2011)
M-Kiss András: Egy elázott madágyűjtemény konzerválási problémái
church, to all changes in it, and to encounters between 18th century Oriental and Western art trends. The restorers aimed to acquaint themselves with, explore, and present the iconostasis in its artistic unity complete with values acquired in the course of its history of 250 years. Based on research, exploration and the microscopic analysis of cross-section samples, it has been established that for close to 140 years, the wall of icons displayed a Baroque-Rococo riot of colours. Historically, the first coat of paint on the perpendicular elements of the structure was blue marbled with white, and the horizontal elements, rims and consoles were red marbled with purple. The carved bits, foliated scrolls, were green and the floral details scarlet and blue alternately; they display direct stylistic kinship with the iconostasis of the Uniate church at Balázsfalva (now Blaj) in Transylvania. At the bicentennial of the weeping, large-scale renewal work was carried out on the iconostasis. Marking the beginning of a second historical period, altar builders Gyula and Imre Spisák, of Pest, painted over the superstructure in brown, and gilded all the carvings with matte and bronze powder technique. As attested to by the signatures, they replaced the icons in the bottom, Feasts and Apostles tiers with new ones painted by Gyula Spisák and his students in 1896. Only five of the old icons survive; these are housed in the Uniate Collection at Nyíregyháza. Between 1943 and 1945, the entire inner furnishings of the church were rehauled and the inside repainted under the direction of the Franciscan friars of Pécs. Marking the third historical period, the structure of the iconostasis was again repainted in reddish brown, and the doors, which had also been made in the Spisák workshop, were entirely renewed. The icons were retouched too, no doubt with intent to improve them. Restoration work started out from these last historical conditions. An agreement was arrived at, namely that the gilding and the icons painted by the Spisáks were to be preserved and restored, out of respect for the transformations carried out in various historical periods. On the other hand, the brown coat of paint was to be removed, so the wall of icons could regain the coloured marble painting it had in the mid-18th century. Exploration of the pediment revealed that the dragon motif occupying central position has preserved its 18th century condition. The likenesses of the prophets were repainted by the Spisáks, and the Baroque layer was uncovered. In this way, nine prophet portraits on the pediment and the figures of John the Baptist and the Virgin on the Calvary have come to light. The structure of the iconostasis has regained its original, Baroque character and, in part, colour scheme, but preserved a large part of the gilding on the carved parts as well as the icons. At the same time, the pediment crowning the structure is nearer its 18th century condition. Finally, 21st century has made its mark too: on its reconstructed part above the Royal Doors, a composition of Christ’s head by a contemporary artist was placed. After conclusion of the restoration work, the renewed church was consecrated on 11 September 2010 by diocesan bishop Fülöp Kocsis, and a sermon was given by Cardinal Christoph Schönbom, Archbishop of Vienna. Dr. habil Miklós Szentkirályi Painting conservator MA Museum of Fine Arts 1146 Budapest, Dózsa György út 41. Phone:+36-1-429-759 E-mail: miklos.szentkiralyi@szepmuveszeti.hu Zsuzsanna Korhecz Papp The Restoration of the ‘Bleeding Picture’ of Bács The study describes the restoration work carried out on the votive picture “Bleeding Virgin Mary” in the Franciscan monastery of the Assumption at Bács (now Bac, Serbia). Belonging to the iconographical type of ‘bleeding pictures’ widespread in the territory of the Habsburg Empire, the painting, done in oils on canvas, displays the Virgin in a frontal position against a brown background, wearing a red garment and a blue gown decorated with letter symbols and stars, with an ornate crown on her head. Standing in front of her is the Christ-Child in golden-hemmed green garb. His right hand is raised in blessing, and in his left hand he holds a scroll with the inscription Ingremio Matris sedet Sapientia Patris. There is a wound on the Virgin’s forehead from which blood is dripping on her son. In the bottom of the picture there was probably an inscription explaining its provenance, but this section of the painting, together with the canvas support, was destroyed. In 2000, experts at the City Musem of Szabadka (now Subotica, Serbia) photographed the Baroque heritage in the Voivodina for the theme project “Baroque Routes in Hungary”, on which occasion the author first saw the votive picture in the cloisters of the Franciscan monastery at Bács. Standing in front of the faded oil painting she pledged herself to save it from further deterioration. Because of bureaucratic obstacles, keeping her pledge proved quite difficult. However, restoration was eventually made possible with the support of the Illyés Public Endowment in 2006. Owing to adverse conditions of keeping, the coat of paint on both the picture and the frame was flaking; some 15-20 per cent of the painted surface was damaged. Restoration work proper was preceded by various photo-technical examinations then available in Serbia (normal, oblique light, luminescent and X-ray), as well as microscope examinations in normal and ultraviolet light of the cross-section of samples taken from the work of art. These were complemented by solubility tests. After applying a protective layer on the painted surface (Nowotex sheets, carboxymethyl-cellulose) and cleaning the reverse, the tom support was secured on the edges with polyvinyl acetate based glue and complemented with canvas marquetry work. Conservation of the painting was performed with wax resin. The canvas 190
