Conservation around the Millennium (Hungarian National Museum, 2001)
Pages - 41
plum-stone-shaped elements in the lower sections of the windows (light amethyst, water-flow pattern). The replacement of the glasses was made after the cutting of the surfaces of the leading (with an electric hand instrument) and the removal of later inserted, nonfitting glasses from the folded out leading. Then the elements cut after the model and ground all around were inserted with the application of the earlier mentioned sealant, and finally the leading was folded back and the joints cut at the beginning of the treatment were resoldered. Light green glass was replaced by glass produced 10 years ago in Austria, which exactly matched the original in its thickness, pattern and shade. There were window sections where all the elements had to be replaced within a surface (28 elements). Uncoloured glass was replaced by glass no. 28 produced in Hungary. Its shade and pattern matched the original and it was only a slightly thicker (3.5 mm), which was an advantage regarding the large surface. Light amethyst glass with water-flow pattern is not produced at present, the original one was a Tiffany make. It was replaced by uncoloured glass of a similar texture produced in Poland. The amethyst shade was added on the outer smooth surface with the application of an anilin pigment of a similar shade mixed in the 1:1 solution of toluene-acetone diluted in 5% solution of Paraloid B72. The main objective of the present restoration was, beside completing the missing elements and reinforcing the static balance was the reconstruction of the original colour and graphic harmonies of the compositions and the optical effect of the glasses with surfaces textured similarly to the original ones. Probably the glass window reconstructed in this way can contribute, with the direct and hidden symbolic content (spring as the source of music, lyre motive), to the spiritual and material unity that once manifested amid the walls of the Liszt Ferenc Academy of Music according to the original wish of the artists. MATERIALS Universal Abbeizer, manufactured by: Meffert AG. Farbwerk D-55509 Bad Kreuznach REFERENCES 1. Art, technique et science: La creation du vitrail de 1830 a 1930. Colloque international. Region valloné, Commission royale des monuments. 2000 Liege. 2. JÁNOS GERLE, ZSUZSA LŐRINCZI, TAMÁS MATTYASOVSZKY, ÉVA MESTER, KÁROLY PEREHÁZY: Budapest építészeti részletek. [Budapest, architectural details] 1999. Budapest 6 Bt 3. FERENC BOR: Liszt Ferenc Zeneakadémia Tudományos dokumentációs [Liszt Ferenc Academy of Music, Scientific documentation] manuscript. Hild-Ybl foundation. Budapest 1998 4. MIKSA RÓTH: Egy üvegfestöművész az üvegfestészetröl. [A glass Stainer artist on glass staining] Private edition 1940 5. ÉVA MESTER: Liszt Ferenc Zeneakadémia - Diszüvegfal színdinamikai tervei [Colour dynamics designs of ornamental glass wall]. University thesis. 1999. Author’s address: Éva Mester Glass artist, monument protection engineer H-1431 Budapest, Pf. 116. 41
