Múzeumi műtárgyvédelem 16., 1987 (Központi Múzeumi Igazgatóság)

Régészeti jellegű tárgyak restaurálásáról - Kovács Petronella: Egy késői kori egyiptomi múmiakoporsó fedelének restaurálása

In due course the wooden frame dried out and, as a result,■ the jointures came apart. The canvas stuck on the wooden support could not follow these movements and tore resulting in the cracking of the paint layers applied onto it. In some places both the canvas and the priming as well as the paint layer were missing. Old completions were found on the left arm and the face. The paint layers became detached and slipped on top of each other. The varnish wore off completely in large areas.

The elements of the wooden frame not only dried out but^became deformed as well.

The timber was stuck by Eporezit FM 20 epoxy jresin. The liquidity of the resin was reduced by flaked asbestos Lacunae in the wood and the reddish repair grounding were joined by Eporezit mixed with wood dust applied in,the thickness of the canvas so that a chalky ground could still be applied later. Detached paint layers were fixed by a 10-30% solution of Paraloid B 72. In several spots the timber became so dry that there were

cavities under the paint layer which were filled in by chalk

•' >■>

mixed to the above mentioned solution. After conservation the unpainted surface of the object was treated by a 2% solution of pentachlorophenol in denaturated alcohol to provide preventive disinfection. For the cleaning of the mummy coffin and the removal of the varnish layer dimethyl formamide, acetone and ammonia spirit were used except for the former completions which were removed mechanically. Gaps in the grounding were completed by a 30% solution of Paraloid B 72.

The author notes that the reason for her using synthetic substances is that the original grounding got loose when exposed to water or substances containing a slowly evaporating solvent, therefore a number of traditional adhesives or conservation substances could not be applied. Water colour paints and hatching was used for completions so that the viewer "nay distinguish the restored details from the original. As the original coating was impossible to determine, after retouching the painted surfaces of the mummy coffin were coated by a'2% solution of Paraloid B 72.

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