Műtárgyvédelem, 2006 (Magyar Nemzeti Múzeum)
Összefoglalók
decisive role in the creation of the Eucharistic representations (Agnus Dei, chalice and altar-bread, Imago Pietatis) framing the fresco of Saint Ladislaus and Saint Leonard. Palatine Imre Perényi’s son the advowson of the Báta monastery had the Saint Blood relic carried in the castle of Siklós in 1512, where the castle chapel was transformed to house the Saint Blood. The oratory window built in the northern wall of the castle chapel in 1515-1519 evidences it. The stolen relic was probably walled in in the southern niche of the chapel, since the oratory window, which was ornamented with the requisites of the Passion and built for this purpose, opened just across this spot. The contemporaries, however, did not applaud the Perényis’ theft so Ulászló II withdrew the title of advowson of Báta from the family in 1516. In the light of the above, the second fresco layer restored in the academic year of 2004-2005 seems to have been prepared around 1512-1516. The preserving of the Saint Blood relic in Siklós justifies the preparation of the originally very representative wall painting. It also explains why the upper closing of the wall painting is not a perfect segment arch: we find the idea well-founded by historical data that the relic was walled in in the advowson’s niche of the castle chapel of Siklós between 1512 and 1516. Conservation of the baroque mural paintings of the St. Ignatius church in Győr Mariann Hoós-Kornélia Forrai The St. Ignatius church in Győr was built after Baccio del Bianco’s plans between 1634 and 1641 (after the ground plan of the II Gesu in Rome) on the request of the Jesuit Order that had settled in Győr in 1627 and was dispelled in 1777. Following a reconstruction in the 18th century, Paul Troger (1689-1762) and two of his colleagues painted the pictures of the ceiling between 1744 and 1747. The clear and distinct composition of the persons and events significant for the commissioner the Jesuit Order characterises the iconographic thematic of the church. The altar-piece in the high altar was prepared in Vienna in the winter of 1743- 44 and the fresco of the ceiling of the sanctuary was painted to harmonize with it in Győr in 1744. Three years later, in 1747, the scene of the Annunciation was prepared in the nave and the composition of the Angels making music was painted in the choir. It was known for decades that the church needed restoration. The ceiling was covered with large structural cracks and a net of micro-fissures, in which dirt settled. A thick layer of soot covered the surfaces of the wall paintings and the original colours got distorted at several places. Coming from the faults of the roofing, the vault were soaked with leaking water. The results of the leaking water were salt precipitation, erosion, the weakening of the adhesive force of the plaster and the settling of micro-organisms in the wall and on the painted surfaces. Local observations, historical documents and scientific analyses helped 182
