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Negatyw-odlew powierzchni malowidła ściennego : ze studiów nad utrzymaniem nierównej powierzchni tynku w transferze malowidła ściennego

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Ostaszewska M.

Ochrona Zabytków

1991

issue 3

171-191

The article is an abbreviation of a fragment of a work presented for the promotion to the rank of docent in the Department of the Conservation of Artworks at the Fine Arts in Cracow (19 8 7 ). At the outset, the author proposes her own systematization of the uneveness of murals. Upon the basis of such physical properties as: expanse, the shape of the profile and depth, it is possible to distinguish three types of uneveness: the texture of the surface of the painting, the plasticity of the surface of the plaster, and the shape of the wall (the architectural curve). The growing scale of uneveness is the foundation for the proposed typology. The shaping of the surface of murals is the outcome of the combination of all three types of uneveness, of which the first two form an irregular configuration, while the third one is geometrically markable. The deformation of the original shape of the surface of the transferred mural was often the price which was paid for the saving of the monument. Its symptoms included i.a. the imprint of the texture of the fabric on the face of the painting, the folding or, on the contrary, the straightening of the spherical one. In conservation praxis, one can note certain attempts at retaining the original shape of the surface of the painting. The greatest problems are produced by the plasticity of the surface of the plaster. Efforts were made to maintain it by resorting, for example, to thick, multilayer facing. The prominent plasticity of the plaster can be, however, protected only by a cast of the surface which turns into a working table at the stage of the reversal of the painting. This process prevents the flattening of the flap, cracks and the foliation of the plaster, as well as secondary folds of the surface. The most frequently executed casts are full plaster ones, which sometimes take on the form of a thin shell that supplements the massive construction. The moment the size of the flap grows, the difficulties increase disproportionately. Awareness of the faults of the plaster led to attempts at replacing it with synthetic material, especially stiff polyurethane foam. The" latter was applied on a number of occasions in transfering easel paintings into a new base. Very little published information, however, was discovered concerning the use of this method for negatives of murals. An experimental negative made of polyurethane foam was prepared for the Gothic painting (1 4 2 0 -1 4 3 0 ), extant on two walls of a corner chamber in a house of 2 Mikołajska Street in Cracow. The state of the painting required a rapid separation from the destructive base. The transfer had to be replaced, but at a certain distance from the wall, in order to secure a ventilation area. The painting was characteristic for a distinct plasticity of the surface wchich corresponded to the uneveness of the wall. This feature as well as the size of the surface (ca 25 sq. metres) basically complicated the process of the transfer. Hence, the need to make a cast of the shape of the surface. The method of foaming the negative was initially tested on models, and on a negative of the most devastated part of the painting (west wall); following modifications, it was applied on the east wall. The insolator of the secured painting was originally corhposed of aluminium foil. In the final version, it was replaced by a mixture of silicon caoutchouc - Polastosil M -2 0 0 0 and M -5 6 , produced by the Experimental Silicon Works in Nowa Sarzyna (Institute of Industrial Chemistry). The main hardening agent was the system of a rigid polyurethane foam produced in statu nascendi and ordered at the Research-Production Polyurethane Works "Organika-Zachem” in Bydgoszcz. The negative was made in fragments, some 4 sq. metres large, which, in turn, were composed of sets of chambers in which the polyurethane foamed. The walls of the chambers were profiled in accordance with the uneveness of the surface to gain better adhesion to the painting. Special equipment was devised for the purposes of tracing. After a slight retouching of the face, the negative served as a work table for the preparing of the reversals of the painting, and subsequently during the foaming of the base. A comparison with the photographs of the painting makes it possible to estimate the effectiveness of the method employed for the retention of the uneven surface of the mural.

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1 Ochrona Zabytków

1 Ostaszewska M.

1 1991

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Negatyw-odlew powierzchni malowidła ściennego : ze studiów nad utrzymaniem nierównej powierzchni tynku w transferze malowidła ściennego