Kovács Petronella (szerk.): Isis - Erdélyi magyar restaurátor füzetek 16. (Székelyudvarhely, 2016)
Sor Zita: Digitális nyomatok a gyűjteményekben
The complete desalination of the walls supporting the murals is not feasible, especially if some of the salts are contained by the building materials. The aim of the restoration interventions is to stabilize the existing condition, preventing the flaking of the paint and to reduce the moisture supply. Based on the results of the performed examinations, it is possible to make a digital color reconstruction, which can be of valued help in the research of the art history of the paintings and in determining the possible schools of authors of the paintings. Eva Galambos DLA Wooden sculpture restorer MA assistant professor Zsuzsánna Váli Painting restorer MA, doctoral student Prof. Ákos Török PhD, DSc geologist, envinromental engineer Erika Tímea Nemes Painting restorer MA, doctoral student Translated by: Zsuzsánna Váli Ferenc Mihály The conservation of the main altar of the Franciscan monastery church in Odorheiu Secuiesc The Franciscan church of Odorheiu Secuiesc and the adherent monastery were built in the 18th century and they are among the most significant monuments of the baroque architecture in Szeklerland. After the construction the church was nicely furnished, from which the main altar, the side altars, the pulpit, the priest’s chair and some high quality doors have been preserved so far. In the central niche of the main altar built in honour of St. Peter and St. Paul the sculpture of the Holy Mary can be seen; on her two sides St. Peter and St. Paul apostles, and St. Stephan and St. Ladislaus the Hungarian holy kings are represented. On the pediment of the altar the sculpture composition of the Holy Trinity was placed surrounded by angels. The sculpture of the Holy Mary is one of the best artifacts of the wooden statuary of Transylvania; and - given its type - is unique in the Carpathian basin, with its pair in Dumbrăveni (Erzsébetváros, Romania). Mary is represented without the infant Jesus, with a lily as the symbol of purity in her right hand, and with a heretic under her legs who writes and tenaciously protects the false tenets. The gilding and painting of the altar was carried out in the years 1780 and 1781 by Mátyás Veres and his wife Krisztina Perger. By the end of the 20,h century the Franciscan Order got back its rightful ownership and could set to the reconstruction of the buildings which had been neglected for decades. After the architectural renovation of the church the research, the condition assessment, the planning of the restoration could be carried out as well; and the conservation work could be started. In the course of the conservation processes, methods and materials generally used and well known in the conservator profession were used. The several layers of overpainting were removed with heat gun and mechanically up to the varnish of the original painting. The lustred surfaces were revealed in more steps, going ahead from layer to layer, with various methods and materials. For the removing of the overpainting from the coloured lustre surfaces the concentrated (32%) ammonium-hydroxide proved to be the best. Moving slowly with the cleaning only small areas (half a cm2) were treated with the chemical, and after a short time it was wiped away completely from the surface. In this way the overpainting could be slowly wear down. The process of the removal of the overpainting from the marbled and lustred silver surfaces was efficient and very instructive. At the end of the study the author draws attention to the importance of the patina-layer, to the preservation of some small areas where the original layers are kept and so they can be studied, and to the documentation of the completed areas with UV images as well. Ferenc Mihály Wood and furniture restorer MA Translated by: Márta Kissné Bendeíy Éva Mester The chances for survival of the historical glass windows in Transylvania From the 15th century the window panes were made both from crown glass and from plate glass. The different sizes of crown glasses were made in mass - with various technologies and quality - in glassworks built in forests. From the plate glasses, which were made by blowing, it was difficult to make window panes because they were fragile and sometimes there was stress in them. At that time larger plates suitable for glazing windows without subdivision were not available yet. The larger pieces were cut to smaller, geometric elements, from which the windows were put together. Split window panes were used all over Europe. The basic forms were the rhomb, the honeycomb and the rectangle in the Carpathian basin as well. The window panes were built from elements bordered by straight lines. The pattern could be created from pieces with the same basic form or with the combination of different basic forms, hold together with rigid metal cames which had high tin content. The crown glass elements were kept together by flexible lead cames, which were suitable for building windows also with the combination of arched (round) and angular shaped pieces. This simple technology could be practised also in the countryside; so the travelling glassmakers could repair the broken windows from time to time. The glass was not 140
