Kovács Petronella (szerk.): Isis - Erdélyi magyar restaurátor füzetek 18. (Székelyudvarhely, 2018)
Mester Éva: Az ólmozott üvegablakok és üvegfestmények rekonstrukciójának kockázatai
in the freezer is much slower than at room temperature. About the drying of the leathers it could be observed that the loss of weight started during the freezing already, and the process speeded up in the presence of silica gel. This suggests that when long term storage in frozen condition is planned the leathers should be kept in airtight PE bags and the air should be removed from them by vacuuming to avoid the uncontrolled drying and the hoar forming in the freezer. The new method that the freezing and the drying of the samples were carried out in the freezer not only without covering but also in closed plastic boxes, had some lessons to learn. The time necessary for the drying in both cases was almost the same, but in the closed boxes the amount of the silica gel can be different for thick and thin leathers so the process can be more tailored to the actual cases. The use of closed boxes in the freezer has the advantage also that the drying process and the water adsorbent capacity of the silica gel are less interfered by the fluctuation of the RH and the amount of hoar-frost in the freezer. The tools chosen for the experiments proved to be appropriate: the upright freezer could be overviewed well and the samples could be moved in and out easily. By the help of the digital recorder it was possible to get information continuously about the change of the temperature and the RH in the freezer and in the closed boxes. Future experiments are planned about the optimal amount and arrangement of the silica gel placed into the freezers; about the risk of overdrying; and about the parameters of conditioning of the samples after drying. Zsuzsanna Várhegyi Paper and lather conservator artist MA Márta Kissné Bendefy Chemical engineer BA, leather conservator Translated by: Márta Kissné Bendefy Hajnalka Fábián-Tóth Conservation of a Chinese paper umbrella based on the theoretical and practical knowledge of its manufacture technology This umbrella is a material relic of the Hungarian Franciscans’ mission to China. This lasted between 1929 and 1952 in Hunan province. The object was probably made in an umbrella workshop at a provincial town in accordance with the millennial craftsmanship tradition. The canopy had been impregnated with tung oil, which over time had caused the paper to become stiff, brittle and became sticky in places. As a result, use of the umbrella had produced numerous splits and holes on the canopy. After getting to know the materials used in making the umbrella, the way of construction and the status of the object, the goal was the physical strengthening and the aesthetic restoration of the artefact. ft was necessary to ensure easy access of the object from all direction during the treatment: Therefore, the umbrella was suspended at two points; on the tip of the screen and on its handle with an adjustable length tape. Conducting experiments to find ways of making repairs that would be suitable in transmitted light, too, constituted an important task. Assembling and supporting the paper fragments on the suspended object was made by temporarily fixing the pieces on a transparent polyester film with small magnet pairs and with continuous back illumination. The removal of soiling stuck to the surface and repairs made with insulating tape earlier on was performed using a 2:1 mixture of mineral spirit and acetone. The same mixture was used to soften and unstick the areas of paper clumped to each other. Supporting the damaged paper took most of the time and patience, as because of the permanent tension and stretching in the paper of the open umbrella it was difficult to fit the tom edges to each other. In 55% relative humidity, the splits were backed and made good using Japanese tissue paper dyed brown and supplied with methylcellulose adhesive film. Replacement parts were made from dyed Japanese paper smeared with tung oil on which retouching was performed with aquarelle on the basis of remaining traces and repeating pattem. The damaged and missing parts of the yam were repaired using cotton thread, with reconstruction following the techniques used when the yam was made. As a result of the treatment, the umbrella regained its original shape and its structure became sufficiently stabilized. The integrated completions contribute to the aesthetic appearance of the artefact. Hajnalka Fábián Tóth Paper and leather conservator artist MA Translated by: the author Rebeka Nagy Similarities and differences - Restoration experiences of three banners of the Cathedral of Szombathely The conservation of the two-sided, single-leaf banners is always difficult because of their structure. The result of the process can only be spectacular with careful, conscious and well prepared conservation process. Three, two-sided, single-leaf banners from the Cathedral of ‘Visitation of the Blessed Virgin Mary’, Szombathely, Western Hungary had been conserved by the author. One of them, from the year 1813, is made of red silkdamask, decorated with floral motives, embroidered with gilded silver thread. In the centre there is an oval inlayed painting, this depicts the ‘Our Lady of the Visitation’ on one side, and Luke the Evangelist on the other side. 133
