Kovács Petronella (szerk.): Isis - Erdélyi magyar restaurátor füzetek 4. (Székelyudvarhely, 2004)
Mester Éva: A Kárpát-medence üvegfesztészete. II. Az üvegfestmények és díszműüvegezések jellemző károsodásai
It is very important to set up so-called transitional store-rooms in every museum so that we do not take biologically active parasites into the collection with the new objects and the wrappings. In a new environment the optimal relative humidity (55-60 %) and temperature (16° C) must be secured for the textiles, which can be set by moistening or desiccation and by regular measurements. The natural light should be filtered, and the artificial light should not exceed the light intensity of 50 lux. The furniture of the store-room should be prepared from materials of neutral pH. The textiles kept on open shelves should be protected from dust with curtains. Also pH neutral materials should be used for wrapping like e.g. acid-free paper. Only well preserved costumes should be stored on hangers. The cleaning of textiles, be it dry or wet, is an irreversible process. The purpose is not cleaning but the removal of the decomposition products in order to stop acidification. Deionised water and surface-active agents should be used for the wet cleaning of museum textiles. Bleaching is not applied because it damages the textile fibres. Bactericide and fungicide matters can be used for the disinfecting washing, like Preventol CMK (0,05-0,1 % alcoholic solution of parachloro-metacresol) and Dodigen 226 (alkyl-dimethyl-benzil-ammoniumchloride). Even the most carefully stored, conserved and restored object can suffer irreparable damages in a short time if the necessary circumstances are not secured in an exhibition. It is not always necessary to exhibit the original object, a reconstruction can be prepared of the more valuable textiles. It is suggested to exchange, from time to time, the costumes in a permanent exhibition since they age a lot during the years of the exhibition. Mária Újvári Textile conservator Tragor Ignác Museum, Vác Tibor SABJÁN Restoration problems of stoves and stove tiles The author analyses and evaluates the main aspects and steps of the restoration of stove tiles through the eyes of a museologist. In the first half of the study he sketches the possible ways of production (throwing on a wheel, slicing and construction, pressing in moulds, individual elaboration) to help the work of the restorer. He describes the practice, the principles of medieval stove tile production emphasising the general connections, which can make the interpretation of the fragmentary material easier. The author describes the process of restoration first on tiles as independent elements, then reviews the problems of the reconstruction of a stove. He stresses the importance of saving the original clay or paint remains that got mixed with the tiles or adhered to their sides, and calls attention that the backside of the tiles also need to be completed. After describing the production of stove copies, he illustrates the final product with good and bad examples. Tibor Sabján Museologist Hungarian Open Air Museum, Szentendre Katalin T. BRUDER Restoration problems of outdoor building ceramics As the circumstances and the demands changed, building and town rehabilitation has been started in many parts of our region, including the reconstruction of monuments and historical buildings. Contrary to earlier practice, an increasingly substantial role should be given to object restorers in the planning and the execution of the reconstruction. In this paper, the problems of only a single branch are discussed, those of building ceramics. The turn of the 19th and 20th centuries was the time of prosperity in architecture as well all over the historical territory of Hungary. Ceramic art also reached one of its flourishing periods at the time of eclecticism and secession. Architecture integrated the elements of folk art giving birth to a characteristic Hungarian architecture. Building ceramics were abundantly used both for ornamentation and as the raw material of functional elements. The examples we have chosen for illustration came from this period since ceramic material was frequently applied, it had a great artistic significance and raises topical problems from the respect of restoration. Thus the study deals with the products of the Zsolnay factory of Pécs, and their actual condition. This factory was the main producer of outdoor building ceramics, which were widely used all over the country. Regrettably, the material of the products manufactured in this period has degraded to various degrees because of the physical and chemical deterioration. Their conservation and restoration is an urgent task. However astonishing it seems, very few papers have been published in this field and even these papers describe only certain special problems. We cannot find results of analytical examinations and general conclusions drawn from such analyses. The author wrote this paper to raise the problem and start a discussion. Archeological and applied art restorer Deputy head of department of conservation Hungarian National Museum 93
