Kovács Petronella (szerk.): Isis - Erdélyi magyar restaurátor füzetek 18. (Székelyudvarhely, 2018)
Mester Éva: Az ólmozott üvegablakok és üvegfestmények rekonstrukciójának kockázatai
The second one is a red silk-damask banner, which was made in 1864 with painted decoration. In the centre of it there is a rectangle inlayed painting representing Saint Joseph on one side, and Noah with the ark on the other side. The third one is a silk damask banner which has a golden-orange colour, but originally it was also red. The rectangle inlayed painting in the centre depicts Saint Florian and Saint Sebastian on one side and Saint Catharina of Siena on the other side. At first the same conservation process seemed to be useable for all of the banners. There were many similar processes used, such as: all of the paintings were detached from the fabric - their conservation was carried out by a painting conservator - but most of the fringe trims were left in their original place. The fabrics were soaked in 0,5% solution of non-ionic detergent, rinsed many times, and for drying they were fastened to their original shape by stainless insect pins. After the above steps the different making techniques and conditions of the fabrics of the banners required different conservation methods. In the case of the third banner it was not necessary to sew it between two layers of crepeline, because splits appeared only on the painted layers. These damages were conserved with crepeline impregnated by synthetic glue, ironed at low temperature. The second banner was sewn between two red dyed crepeline layers; the splits were fixed with silk threads by conservation stiches. The banner embroidered on double sides with gilt silver thread needed the most complicated conservation method. Because of the bulging embroidered decoration a crepeline fabric was dyed to red with batik technique, masking the embroidered area before dying, so that it remained colourless. It was sewn first with tacking stitches around the embroidered motifs and then on the whole surface of the artifact. Because of the above method, the crepeline on the surface stayed almost invisible. Rebeka Nagy Textile and leather conservator artist MA Translated by: the author Judit Madarászná Gorej Restoration of a columnar standing clock The object owned by the Hungarian National Museum was restored by the author as a diploma work at the Specialization of Wooden Objects and Furniture Restoration of the Hungarian University of Fine Arts. The origin of the standing clock is unknown. The two main elements of the object are the clock case and the clockwork within. The case made at the beginning of the 19th century is taller than the empire clocks from the same time and have different decorations and structural design. Its carved scenes do not elaborate antique mythological themes but they have Christian content instead. There is a quarter-repeating, spring driven and pendulum controlled Clement anchor escapement in the clock case. On the enameled dial-plate, there are Arabic numerals and inscription with the name of the clockmaker and the place of manufacture: 'Mathias Samwald in Mischkolz'; removing the cover-plate another engraved caption can be seen: 'Joseph Graff Prag N210'. The characters sitting on the edges of the clock case comice represent apostles. In the area above the clock box the figure of Jesus is visible with a Roman soldier on his left holding his pilum. Sitting and resting figures are above them, in a rocky landscape point their faces up to the pediment, where the scene of the transfiguration or the ascension of Jesus Christ could have been seen once. However, these small statues are already lost. Solid basswood components were used to form the clock case. The anatomical direction of the wood had not been considered in the construction, and no tenon joints were used on most of places to fit the wooden elements to each other. Tool marks remained apparent on many parts of the wooden surface. Oil, dust and corrosion products contaminated the clock mechanism, and several elements of it were missing. A further intervention has taken place at the clock box, when structure of the original clock mechanism were modified and replaced in the box. The separated wooden pieces of the clock base were glued together with thickly applied animal glue, and the same material was used to fill the gaps. The restoration started with taking out the clockwork from the clock case. The wood and metal parts were treated separately. The removal of contaminants on watersensitive marbled surfaces was carried out with ‘Szuperkromofág’, a mixture of organic solvents; the gilded parts were cleaned with enzymes, and the unpainted wooden surfaces with the aqueous gel of carboxymethyl cellulose. It was followed by breaking down the previously repaired and incorrectly glued elements of the clock case and by placing them in the correct position. Many ornamental and structural elements of the object were missing, the imprints of which mostly remained. Form of some missing elements could be identified. The completion of these ones was made from maple. A mixture of Bolognese chalk and animal glue was used for the ground of the marble painting, while mixture of Champagne chalk and animal glue for grounding of the gilding were used. The retouching of the marbled surfaces was carried out with aquarelle paint, while of the completions with black acrylic paint mixed with lead white pigment. Gold leafs were used for replacement of the missing gilding, the small injuries of the gilded surfaces were retouched with gold aquarelle paint. Microcrystalline wax was applied as protecting layer on the painted areas and 10% Paraloid B67 in white spirit on the gilded surfaces. 134
