Kovács Petronella (szerk.): Isis - Erdélyi magyar restaurátor füzetek 5. (Székelyudvarhely, 2006)
Mester Éva: Geometrikus alosztás, felfokozott optikai hatások, visszafogott színezés. Az art deco üvegablakainak általános restaurálási problémái. A Liszt Ferenc Zeneakadémia üvegablakainak restaurálása
because of the long, elongated shapes. The original colour composition of the decorative row in the adjoining doors of the corridors along the Large Hall, which was composed of antique lyre motives built on brown, pink and green colours in a triple segmentation, was changed when they were repaired. In the course of the restoration, the original sequence was reconstructed after the preserved cardboard drawing. The original lead grids were rebuilt into the doors and windows where it was possible. The new grids got a medium grey patina (20% watery solution of hydrochloric acid with the addition of 5% copper sulphate). The glass elements, which were cut along patterns and polished along the edges, were fixed with a thin liquid mass of linseed oil, sifted mineral chalk, siccative and black pigment dust on both sides because of the poor static condition of the glass panels. Then the lead grids were bent back and the cut soldered points were re-soldered. The conchoid plastic glass ornaments made of crystal glass cannot be bought in shops and they could not be reproduced in industrial glass production. The completions of the plastic ornament were made of two components: a round base made of glass sheet and a two-component transparent epoxy-resin (Araldit 2020) built on it. An original glass inlay was the pattem for the mould. The new elements show the same optical effect as the original ones. The removal of the dirt that got stuck in the depressions of both surfaces of glasses of light shades having a more-orless textured structure was carried out mechanically and with the 5% solution of fatty alcohol sulphate in water, which was then washed off with clear water. Abbeizer and Szuperkromofág were used to remove the flowing of paint, and dry mineral chalk was used for the cleaning of the surfaces of the lead grids. The aesthetic and hidden symbolic contents (spring as the source of music, lyre motive as the ancient symbol of music etc.) of the restored glass windows once again contribute to the spiritual and material unity that was originally realized in the building of the Liszt Ferenc Music Academy according to the original intentions of the creators. Eva Mester Glass designer MA Engineer of Historic Monuments H-1082 Budapest, Nap u. 37. 145
