Kovács Petronella (szerk.): Isis - Erdélyi magyar restaurátor füzetek 7. (Székelyudvarhely, 2008)
Herceg Zsuzsanna: Új anyagok, új eljárások a szilikátalapú műtárgyak restaurálásában
attest to a genial pictorial expertness. It did not cause problems to the painter to turn the evangelist personifying the donator into Saul and then Saul into Saint Paul, and he was not disturbed by the inconsequence of the drawings he made during the modifications. We know from the accounts of Giorgio Vasari his contemporary that Michelangelo praised Titian’s colorito, emphasised how true his paintings were to nature but he found his graphic capacity lacking. The many pentimentos, the sketchy graphic marks, the permanent modification of the composition during painting that can be observed in the painting were among the characteristics of the technique of 16th century Venetian painters. The masters of Veneto owed a smaller significance to the sketches made before painting than their contemporaries in Florence or Rome. This did not mean that they could not draw: it is linked with a different function of drawing. The painter did not sketch the individual figures, only marked the outlines. They were formed during painting, and they were modified and perfected as the painting advanced. The pictorial solutions uncovered in the Budapest painting, the numerous authentic modifications by the painter, the characteristic lead white sketches, the graphic broadness and the shiny colours are characteristic traits of Titian’s paintings. The investigations of the art historian and the results of the analyses made by the conservator support that the Budapest painting is identical with Titian’s painting described in the catalogue of the princely collection of Modena in the 17th-18th centuries, the same painting that was seen in the Kaunitz palace in Vienna in the 30’s of the 19th century, and the one that was presented at the auction of the Hungarian Royal Post Savings Bank in 1932. The owner generously let the painting to be exhibited in the permanent exhibition of the Museum of Fine Arts. Miklós Szentkirályi Painting conservator DLA, habil Head of Conservation Department Museum of Fine Arts H-l 146 Budapest, Dózsa György út 41. Tel.:+36-1-311-6748 E-mail: miklos.szentkiralyi@szepmuveszeti.hu Éva Benedek- Zsuzsa Mara Introduction to the exhibition of conserved sacral objects in the Csíki Székely Museum In 2006, an exhibition was opened in the Csíki Székely Museum with the title “Rescued sacral treasures”. From the more than fifty objects of art conserved for the exhibition, the authors describe the conservation of each an item from the various object types. One of them was a codex fragment from the 15th century, which was the glued end-leaf of an incunabulum discovered in the wall of the Csíksomlyó monastery. There were large areas missing from the parchment deteriorated by moulds, and the letters fell out at a few places. The paint had run and caused spots. A number of active mould species were identified on the object in the conservation laboratory of the National Library in Bucharest, and then it was disinfected with formaldehyde. In the Csíki Museum, the shrunken parchment was first moistened with an ultrasound humidifier to flatten it, but this method did not bring results. Next we sprayed the parchment with distilled water mixed with ethyl alcohol. The smaller missing elements were replaced with parchment pulp coloured with tea extract, using a hand moulding technique. The larger missing areas were replaced with parchment of a similar colour and quality. Parchment glue was used for gluing. After pressing, the surface was treated with 2% solution of Klucel-M in ethyl alcohol. The dark spot was not blanched because of the poor condition of the parchment. From among the printed matters, the conservation of an 18* century manuscript with musical notes will be described. The object consists of two unifacial leaves mounted on canvas, which were glued together so that both faces can be read. The support of the notes is hand-moulded paper. The text and the notes were written in iron-gallic ink, and tempera was used for the large initials and the floral motive with tendrils, which frames the text. The paper became crumbly in the upper part of one of the leaves, and the paint was faded and it ran. The text was incomplete. The other leaf was also spotty, tom and incomplete. The object was not dismounted before treatment. After dry cleaning with a rubber, the colours were fixed with the 3% solution of Regnal SI in ethyl alcohol where moisture deteriorated the material. The missing areas were completed with repair paper of a colour and a thickness similar to the original one. 3% watery solution of Glutofix was used for gluing. The flower-and-tendril ornament was retouched with tempera. The object was exhibited in a wooden box having glass panes on both sides. The Bible edited by Abrahám Szenczi Kertész in 1960-1661, which is in the possession of the Calvinist Church of Hodgya (Hargita county) was one of the exhibited books. The book had a paper board with an ox hide binding of vegetal tanning, which was goffered with late Renaissance patterns. The comers of the binding were tom and incomplete, and the goffering had become slightly vague. The text was printed in black paint on the mould-made leaves. The headband was missing, the title page decorated with xylograph got detached from the body of the book, and the first sections tore off. A pH value of approximately 6.5 was measured on the leaves of the body of the book. Active Aspergillus mould was demonstrated in the sample taken from the back flyleaf of the bible in the laboratory of the Sapientia Transylvanian Hungarian University of Science. The infected paper cover was removed. No traces of active moulds could be observed on the leaves of the body of the book, nevertheless, we applied 1% solution of Preventol CMK in ethyl alcohol on the leaves with a brush. All the leaves were dusted and cleaned with mbber sponge. The condition of the detached title page and sections necessitated wet 144
