| Abstract | Ovaj diplomski rad bavi se radovima na transferu fragmenta zidnog oslika vijenca iz renesansne kuće Moise u Cresu. Primarni zadatak ovog diplomskog rada bio je prijenos fragmenta zidnog oslika koji je odvojen od izvornog nosioca – zida – na novi nosilac te njegovo vraćanje in situ. Tijekom prethodnih istraživanja 2015. na zapadnom zidu središnje dvorane otkriveno je da se, ispod sloja žbuke i naliča, nalazi zidna slika iz 16.stoljeća. No zid na kojem se nalazio bio je statički nestabilan te mu je prijetilo urušavanje. Kako bi se izbjegla opasnost od urušavanja donesena je odluka da će se zidni oslik odvojiti od zida stacco metodom, postojeći zid srušiti te će se na njegovom mjestu izgraditi novi zid kako bi se zidni oslik mogao vratiti na svoje izvorno mjesto na novom zidu. Postupak odvajanja fragmenta zidnog oslika izveden je 2016. godine. Nakon odvajanja fragment je dopremljen na Akademiju likovnih umjetnosti u Zagrebu na Odsjek za konzerviranje i restauriranje umjetnina gdje su daljnje radove preuzele studentice 5. godine Lara Jurki i Ivana Dragozet. U sklopu diplomskog rada izvedeni su radovi obrade i pripreme fragmenta, postavljanje fragmenta na novi nosilac, vraćanje fragmenta na izvorno mjesto te ostali konzervatorsko-restauratorski radovi potrebni za prezentaciju fragmenta. Specifičan zahtjev postupka prijenosa ovog zidnog oslika na novi nosilac bio je izvedba laganog i tankog novog nosioca koji je trebao biti dovoljno čvrst da nosi tri fragmenta zidnog oslika čija dužina doseže gotovo 4 metra, a širina oko 60 cm. Takve je dimenzije bilo teško učvrstiti, a da se pod vlastitom težinom cijeli fragment ne savija, imajući na umu da debljina čitavog fragmenta zajedno sa svim slojevima backinga, intervencijskim slojem i slojem novog nosioca ne smije prijeći debljinu od 3 cm. Kao moguća rješenja razmatrane su različite metode i materijali. Odabrani materijal za dubliranje i spajanje fragmenata bili su vapneni kazeinat i pamučna gaza, a kao novi nosilac koristila se aluminijska ploča učvršćena ojačanjima. Radovi su uključivali izradu dokumentacije, obradu poleđine, reintegraciju žbuke intonaca na poleđini fragmenta, polaganje triju slojeva vapnenog kazeinata s gazama, polaganje intervencijskog sloja (PUR pjena) i novog nosioca (aluminijska ploča s ojačanjem) te vraćanje fragmenta in situ. Fragment je postavljen na zid na novom nosiocu koji se mehanički (vijcima) montirao na zid. Nakon toga izvedeno je uklanjanje facinga, čišćenje oslika i reintegracija s okolnom žbukom koja je nanesena na čitav zid. Na kraju su izvedene probe reintegracije slikanog sloja, a potpuna reintegracija tek slijedi. Svi provedeni postupci izvedeni su prema pravilima struke, poštujući načelo povratnosti kako bi se omogućile eventualne kasnije intervencije. |
| Abstract (english) | This paper is about the work on the transfer of a fragment of a wall painting on the wall crown in the renaissance house Moise in the town of Cres. The primary task of the work was the transfer of the fragment of the wall painting removed from its original background - the wall - onto the new support, and its installation in situ. During the preliminary research in 2015, on the western wall of the main hall, a layer of the 16th century wall painting was discovered below the layers of plaster. But, the wall below it was statically unstable and there was a possibility of collapsing. To avoid the threat of collapsing, a decision was made to detach the wall painting from the wall using the stacco method, to tear down the existing wall, rebuild a new wall and return the wall painting to its original place. The process of detachment of the wall painting fragment was done in 2016. After the detachment, the fragment was transferred to the Academy of Fine Arts, the Department of Conservation and Restoration of Artworks in Zagreb, where the following work was done by fifth-year students Lara Jurki and Ivana Dragozet. The work included the treatment and preparation of the fragment, reinstalling the fragment onto the new background, returning the fragment to its original place and other conservation and restauration tasks necessary to display the fragment. A specific characteristic of the process of transfer of this wall painting onto the new background was preparing the light and thin new background which had to be firm enough to carry three wall painting fragments almost four meters long and 60 centimeters wide. Those dimensions were difficult to set without having the fragment fold under its own weight, considering that the thickness of the fragment with the backing layers, the intervention layer and the new background layer could not have been over 3 centimeters. Various methods and materials were considered as a possible solution. The selected material for doubling and connecting the fragments was calcium caseinate and cotton gauze, and a new background was an enforced aluminum board. Other tasks included paperwork, treatment of the background, reintegration of intonaco plaster on the back of the fragment, setting three layers of calcium caseinate with gauze, setting of the intervention layer (PUR foam) and the new support (the enforced aluminum board) and returning the fragment in situ. The fragment was set on the wall on the new background which was set on the wall mechanically, using screws. After that, the facing was removed and the painting was cleaned and reintegrated with the surrounding plaster which was applied to the entire wall. Finally, the reintegration of the painted layer was tested, but the completere integration is yet to be made. All the procedures were made according to the rules of the profession, following the principle of returnability to enable possible further interventions. |
