Szilágyi András (szerk.): Ars Decorativa 27. (Budapest, 2009)
Emese PÁSZTOR - Márta TÓTH - Anikó PATAKI - Andrea VÁRFALVI: Turkish Cases from the Esterházy Treasury
I set the pieces out on the pattern shape that I had made earlier. Drying, softening, adjustment to size I covered the pieces of leather laid out in this way with several layers of absorbent paper, and then covered them in plastic film. The purpose of this procedure was that the butyl alcohol absorbed by the leather should evaporate as slowly as possible, exerting its softening effect over as long a period as possible. The leather lining pieces became softer and moderately stretchable. As early as their first laying out, they approximated to the pattern shape that had been drawn. On the other hand, the back panel was so thick that despite lengthy treatments it never became really soft and sufficiently stretchable: it was approximately two centimetres shorter than needed. I dried the different pieces of leather in the above way for two weeks, every day picking out the needle-holes. I kneaded the pieces, softened them further by wiping them with a liquor solution, 5 3 and then laid them out again. I performed the drying and softening work in constant environmental conditions (in a workshop with a temperature of approximately 20 C° and 50 per cent relative humidity). As a result of the conservation process, the two pieces of sheepskin acquired a soft, pleasant texture and a light brown colour; at the same time, their sizes matched that of the pattern. Unfortunately, the damage caused by the rusty arrows proved lasting on them and a few smaller holes came into being at their lower extremities. The back panel, too, became softer and more leather-like, and its surface became clean. Its size, however, still failed to match completely that of the velvet. 3. Making good the leather pieces On the conserved leather pieces used for lining, I used a scalpel to remove the edges of the small holes caused by the rusting, since I wished to prevent the possible later spread of the corrosion inside the artefact. After re-assembly, these pieces could not be seen and they had no holding function, with the result that their making good using leather was unnecessary. I stained moderately thick Japan paper with textile dyes to a colour similar to that of the leather and, having placed it under the parts with holes, stuck it to the leather with adhesive made from rice starch. Placing weights on top, I then waited for the leather to dry. As a disinfectant, I mixed Preventol CMK dissolved in isopropyl alcohol with the rice starch. Using a similar method, I strengthened the slightly weakened parts at an upper corner of the case also. 4. Supplementing the embroidery The vehicle for the embroidery, the velvet proved to be in very good condition. It did not require complete or partial reinforcement. On the other hand, on the missing and damaged parts of the metal-wire embroidery conservation and supplementation of the sewing work had become necessary. The method of replacing the missing embroidery accorded with the procedure related in detail in the descriptions of the restorations of cases II and III. 5. Preparing the new edging leather For the replacement of the parchment edging holding together the layers of the case, I prepared new strips whose thickness corresponded to that of the original ones. I stained the goatskin wine-red using leather dye dissolved in alcohol. I then cut strips 2 cm wide from it, the edges of which we made thinner by cutting, thus making subsequent folding and sewing on easier. 88
