Műtárgyvédelem, 2006 (Magyar Nemzeti Múzeum)
Összefoglalók
segmented by finely elaborated gilded architectural elements. Originally, Bertalan Székely’s frescos decorated the walls, which were soon destroyed by the precipitation of moisture. Miksa Róth and his workshop replaced the paintings with glass mosaic technique. The mosaics cover a surface of about 73 m2. The mosaics are based on brick, the binding matter of the bed mortar is composed of lime and a little white cement with dolomitic limestone as additive. The mosaic stones were laid in a reddish bed mortar, which contained lime as binding matter and limestone as additive. Beside unprofessional repairs, smaller and larger missing areas could be observed on the surfaces decorated with mosaic. The completions were laid in an extremely hard cement mortar, which at certain places have peeled off the bed mortar. The majority of the mosaic stones needed for the restoration was obtained in Italy. The pendentives had extremely been soaked. Due to the short time allotted for restoration, the wall had to be artificially desiccated with heating cartridges placed into boreholes. In result of wall heating, the wall that was covered with the mosaics reached the optimal moisture content after about one and a half months. Restoration intended to reach a condition close to the original regarding both the mosaics and the rest of the wall surfaces. Historical and art historical research and the results of various physical and chemical analyses helped this work. Durability and security were the main aspects regarding the materials we used and the applied technologies. After the documentation of the initial condition, the details that had to be pulled down were copied on a transparent film, the surface was cleaned and the edges of the broken mosaic surface were fixed. The grained mortar was chiselled off and replaced by new base mortar. Finally, the missing areas were reconstructed with new stones. Coordinated work of a number of industrial artists, restorers and scientific collaborators was necessary during the reconstruction. The operation of the so- called intelligent (digitally operated) ventilating system will probably hinder further moisture precipitation. Restorers who took part in the work: Anna Bujdosó, Dorottya Gajzágó, Márta Kázik, Mária Laurentzy, Erika Verba. Our collaborators were Alajos Andróczi sculptor, Gyula Somos painter and László Farkas and Emese Dúl assistant restorers. Restoration of a late baroque Immaculata sculpture Tamás Szabó The Immaculata sculpture belongs in the collection of the Diocesan Museum and Treasury of the Szeged-Csanád Bishopric. It was prepared at the peak of the European late baroque style in the 1750’s/80's. The statue was carved from a number of smaller and larger limewood blocks, which were glued together. There are no traces of jointing. Former interventions, repairs could not be found in the structure of the object. The majority of the deteriorations can be explained with changes in the temperature and the moisture content of the environment. The desiccation and warping of the wood could 184
