Műtárgyvédelem, 2004 (Magyar Nemzeti Múzeum)
Összefoglalók
By the beginning of the 16th century, however, the drapery motif, which is not a real, naturalistic piece of curtain with no obvious reason to be in the picture, can only be found on a handful of Italian relics, including Raffael’s Sistine Madonna. On the picture under discussion here, the curtains are not naturalistic and their role is to highlight revelation and the motherhood of Mary, based on the iconographic traditions. The Master, in line with the tastes of the Cinquecento in the first decades of the 16th century, changed the drapery totally to a natural scenery. With this change, the meaning of the picture greatly changed too - the religious content of the painting became much liberal and freer from a theological pont of view. Restoration depicted traces of blue overpaint in three layers on the paintings upper part on the green curtain, whose material also includes copper- green. Of those, the upper two layers include cobalt so those only could get on the picture in the 19th century. The table under study belonged to the rich collection of Zsigmond Bubics, a highly educated person of the time, who also filled high clerical positions and engaged in the study of history. We could learn from his letters that he was an ardent collector during his Italian travels and he had the artifacts bought there restored at home. Part of Bubics’s collection was auctioned in the year of his death, in 1907 in the Dorotheum in Vienna. Unfortunately, we have no information so far on wether the Madonna with Child was one of the items at that auction or on in what way the picture got back to Hungary, to the collection of the Museum of Fine Arts. TULLE, SILK, HISTORY Conservation of the gala dress of Klára Rhédey Mária Kral óvá nszky The textile collection of the Hungarian National Museum obtained a unique dress in 1992. The present owner took it to the museum to have the family heritage restored so that it could be worn. As the dress uncovered its beauty even in its ruins, the restorers saw that it was not something to be worn; it had a better place in an exhibition. According to the family tradition, Klára Rhédey (1809-1868) was the owner of the dress. The elements of the dress were not prepared at the same time. The coloured flowery cloth of the corset-body interwoven with gold and silver threads was a French or a German product from between 1730 and 1750, while the cut is characteristically Hungarian. Probably Zsuzsanna Bethlen, Klára Rhédey’s grandmother wore it in Maria Theresa’s court. When Klára Rhédey inherited it, the skirt that had belonged to the corset-body had been worn out, since the one sewed to the corset-body was made of a light blue moiré prepared around 1810. The former fashionable camisole was probably replaced by the embroidered tulle sleeves stitched to the corset-body at the same time. The tulle apron and veil, also of lamella embroidery, were made between 1825 and 1835, and they were probably 158
