Műtárgyvédelem, 2012-2013 (Magyar Nemzeti Múzeum)
A siklósi vár keleti szárnyában található imafülke reneszánsz falképeinek készítéstechnikai és természettudományos vizsgálatai
Műtárgyvédelem 37-38 und Werkproze mittelalterlicher Wandmalereien. In: Zeitschrift für Kunsttechnologie und Konservierung. 16/1. (Kriston László fordítása). Eastaugh, N. - Walsh, V. - Chaplin, T. - Siddall, R. (2004): The Pigment Compendium CD-ROM, Elsevier. A Dictionary of Historical Pigments. Elsevier - Butterworth Heinemen. 499 p. Optical Microscopy of Historical Pigments. Elsevier - Butterworth Heinemen. 416. p. Fazekas Gyöngyi (2010): Siklós, vár, a keleti szárnyban található reneszánsz imafülke. Restaurálási tervezet. Budapest. Renaissance wall-paintings in a prayer-niche in the east wing of Siklós Castle: the technique employed and scientific investigation of the works Franciska Lovas In the summer of 2010, a uniquely valuable prayer-niche came to light in Siklós Castle, in south-western Hungary. In an upstairs room to the south of the chapel, a chamber was discovered in an outer wall. The chamber’s entrance had been walled up to a considerable depth. When the chamber was opened, it turned out to be a prayer-niche covered by beautiful albeit very fragmentary wall paintings. The painting on the west wall of the small, vaulted space depicted scenes from the life of Christ. On the wall opposite, there was a Madonna and Child. In the arrangement of the small figures and in the execution of the faces, the influence of Italian painting was discernible. With the help of on-site surveys, microscopic examinations, and investigations using other instruments, it was possible to identify the technique and the materials employed. The wall paintings were probably made in the early Renaissance period. One of their characteristics was that before the application of the paint layers using the oil on dry plaster technique, a sealing layer was put onto the whitewash layer. The significance of these works of art is heightened by the fact that the green hues were painted using atacamite and paratacamite in addition to natural malachite. During the investigations, further useful information emerged concerning the makeup of the pictures and the characteristics of the technique employed. Studying of the paintings is of great importance in getting to know Renaissance painting in Hungary, because very few works from this period survive in the country, mostly because of frequent rebuilding work and the Ottoman occupation. A szerző címe/Author's address: Lovas Franciska Festőrestaurátor művész/Painting conservator MA Magyar Nemzeti Múzeum, Nemzeti Örökségvédelmi Központ 1113 Budapest, Daróci út 3. Tel: +36-70-535-8774 E-mail: franciska.lovas@gmail.com 184
