Kovács Petronella (szerk.): Isis - Erdélyi magyar restaurátor füzetek 7. (Székelyudvarhely, 2008)
Herceg Zsuzsanna: Új anyagok, új eljárások a szilikátalapú műtárgyak restaurálásában
cleaning, which was carried out with the watery solution of fatty alcohol sulphate and a little methyl-cellulose. The paper was strong enough to afford the blanching of the large brown spots with acid chlorine bleach, which was followed by neutralising with acetic acid and repeated rising. The damaged comers of the body of the book were completed with Japanese paper, and the smaller tears were consolidated with Japanese paper. The detached sections were sewn back to the body of the book. The infected mouldy board was replaced by pH-neutral cardboard. It was covered with brown calfskin, and then the original leather, which had been cleaned and softened with liquor, was mounted over it with the help of wheat starch. Waxy leather paste was used as a conserving matter. From among the polychromatic statues, only the biretta was preserved from among the attributes of the statue of Saint John of Nepomuk preserved in the Csíki Székely Museum, and only the prebendal robe referred to the prototype. The left foot and arm and each a fragment of the cap and the pedestal were missing. The paint layer had worn off from the projecting areas. The lower part of the statue was deteriorated by insects. The superficial impurities were removed with a soft brash, while chemical and mechanic methods were alternately used on the stronger greasy impurities. According to cleaning tests, the mixture of ethyl alcohol (70%), turpentine (29%), linseed oil (1%) and a few drops of ammonium hydroxide proved to be the most efficient. The proportion of the components was modified with 25% of dioxane or 25% of dibutyl phthalate depending on the sensitivity of the colours, and then the surfaces were wiped with dibutyl phthalate. The missing elements were replaced according iconographic researches and the existing forms. The measure of completion raised ethic problems, so the left arm, the position of which was not evident, was not completed. The completions were prepared from maple and glue was used for gluing. The mixture of 3.5-7% rabbit glue solution and mountain chalk was used for the filling in of the insect holes and the gaps of the paint layer and also for the priming of the completions. The aesthetic reconstruction was made with invisible retouch using watercolour and they were covered with a protective varnish layer. The exhibited “winged crucifix” differs from the traditional crucifixes in the depiction of Jesus. This crucifix type, which Franciscans regard to be their symbol, became known as the pictorial representation of Saint Francis of Assisi’s vision. The object was very dirty, the paint layers crocodiled at a number of places and they became cracked and brittle. The wood was incomplete on the rays and the wings, and traces of repairs, repainting and completions could be observed on the entire surface. To consolidate the detached paint layers, they were first injected with 1:1 mixture of ethyl alcohol and water, than hot 7% solution of rabbit glue and cigarette paper were applied. The latter one was removed after drying. The original gilding was relatively well preserved under the repainting. The solvent mixture Superkromofag and the mixture of n-dekanol (90%) and methylene chloride (10%)were used for uncovering the gilding. In result, the original brown colour of the cross was also uncovered. The mixture of technical alcohol and white spirit was applied for the cleaning of the oil paint of the body colours. The gluing was carried out with 20-25% bone glue. The missing paint layers were completed with chalk mixed in glue and the same was used for priming. Three-four layers of red bolus were applied under the gilding. As the colours of the original and the freshly applied gold foils were different, the latter one was patinated. The aesthetic reconstruction of the painted surfaces was carried out with invisible retouching using oil paint, and then the entire surface was coated with a matt protective varnish layer. The small panel painting “Adoration of the Three Kings” was painted on pine wood reinforced with canvas. It had once broken into two but it was glued together again. The two parts warped to different degrees so they were taken apart. The adhesive was dissolved from the backside with gradual moistening. The wooden panel was damaged by insects. The infection did not seem to be active, nevertheless, the entire wooden surface was disinfected with Biotin S as preservation. The two parts were fit together with the consideration of the arch of the warping of the support. They parts were first fixed at two points with a two-component adhesive, then the missing areas were completed with wood dust mixed with bone glue. The backside of the support was consolidated with 15% solution of Paraloid B72 in a mixture of organic solvents. The Japanese paper, which protected the painting during the conservation of the support, was removed from the picture side, then the missing paint layers were completed with sealant along the refitting and the edges. The ground was applied in several layers, then it was polished back to the plane of the picture and the superficial impurities were cleaned with egg emulsion. The aesthetic reconstruction was prepared with invisible retouch using watercolour, while patinated gold foil was applied on the gilded surfaces. Finally, the panel picture was coated with a matt varnish layer. In the exhibition, the visitors can catch a glimpse of the tricks of conservation on the posters placed beside the objects. Eva Benedek Paper and leather conservator MA Muzeul Secuiesc al Ciucului RO-530132 Miercurea Ciuc, str. Cetăţii nr. 2. Tel.: 266-311-727 E-mail: benedekeva54@gmail.com Zsuzsa Mara Painting conservator MA Muzeul Secuiesc al Ciucului RO-530132 Miercurea Ciuc, str. Cetăţii nr. 2 Tel.: 266-311-727 E-mail: zsuzsamara@yahoo.com 145
