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HERITAGE IN DANGER 1189
Preventive Conservation or Emergency Interventions in the Case of Abandoned Churches
or on the Periphery in Transylvania
by Péter Pál and Lóránd KissThe present paper is a contribute to the conservation works performed on medieval churches and abandoned or ruined buildings on the periphery of ethnic communities, in the light of preservation of their artistic components (mural paintings, woodcarvings, wooden furniture, etc.). The emergency conservation interventions were made by Imago Picta SRL, a conservation enterprise that deals with the preservation and safeguarding of endangered monuments, research and mural paintings conservation. Since 2004, the enterprise is focused mainly on the conservation of church monuments in Transylvania. Even if our basic activities are focused on mural paintings, we consider important to outline the geographical, social and historical background of the phenomenon. Geographical and historical background All the examined churches are geographically located in specific regions: the Hungarian communities, especially those of the Calvinist Reformed religion, are displayed in Southern Transylvania, in Alba and Hunedoara counties, and those in northern Transylvania are located along the Somes river, in Cluj and Bistrita river. The reason for the desolation of these churches could be due to the fact that along the course of those rivers, the population often had to suffer the consequence of raids more than in hidden territories of mountains or basins. Another group of churches is that of the Saxon Evangelical churches. The departure of these communities started during the communist period and ended after the revolution, due to their massive exodus. These churches are located mostly in the south of Transylvania, in Sibiu, in Brasov County and near the Tarnava river. Another smaller group can be found in the north of Bistrita area. Our activity started with the research and the emergency conservation of some of those churches. We quickly realized that we are facing not just a few particular cases, but a symptom affecting larger areas. This kind of actions require directives for a concept to organize our work. We acted voluntarily or partial supported by civil organizations. This activity was meant to compensate the lack of governmental support in such areas. Even though there were endeavors, until the present time no real help came from the state. As a first step of our long term project we worked on the research of a few endangered churches. This way we could estimate the size and location of certain values and to evaluate the priorities of the interventions. The first priority was, no doubt, the case of buildings left uncovered, but bearing important works of art, such as valuable wall paintings. In many cases the mural painting itself was the factor that mobilized parts of civil society, such as foundations, and made possible the minimal preservation for the building, like in the case of building a roof for the church of Chimindia. As far as conservation is concerned, the churches with formerly uncovered mural painting took advantage. In most cases, the amount of interventions did not exceed the preventive conservation of the monuments. Our leading principle was the preservation in the light of today's conservation concepts. A complex conservation and restoration took place only in a few cases. In our vision, the research and preventive conservation of these monuments should be followed by the creation of a documentary database distributed to specialists, as well as to the owners of the monuments. Even though we are struggling to preserve and stop the deterioration of these murals, there are several problems exceeding our professional and financial possibilities. Such problems include the monitoring of the monument, its maintenance in time and its promotion in the local and European art history, tourism, etc.
Image 1. The reformed church of Nima before conservation; Image 2. The reformed church of Nima with a protector rooftop; Image 3. The church of Chimindia during our intervention; Images 4 and 5. The initial state of conservation,
details from the church of Ormani; Image 6. Two layers from different time periods on the southern wall of the church in Chimindia.
Short study of a particular case
The Reformed church of Nima – the conservation of its mural paintings The intervention in an emergency status took place as a request of The Reformed Church of Transylvania in November 2006. All started previously in the year 2003 with a stratigraphic research of the church walls. That time the building was a ruin with the roof destroyed and huge vegetation growing inside. The paintings were discovered in 1970. Today one can see the fragments of a 14th-15th century painted layer in the a fresco technique, depicting a gallery of apostles on the three sides of the choir. On the south wing of the exterior walls, a solar disc is visible with roman digits, and over it an inscription with capital characters: A.D.:163.. DIE.. MAY GEORGIUS ENYEDI RECTOR SCHOLAE NEMAINAE The conservation On the surface of the walls there are several fissures. These, and the falling stones from the superior parts of the wall, deteriorated persistently the layer of mortars. The mortar became friable and pulverous being exposed to extreme weather conditions. Biological attack is also present, with a large surface covered by mould and fungi, affecting the surface, especially the color layer. The methodology was as follow: - The transitory fixation of the dislocated fragments of the mortar. Materials used: Japanese paper and CMC (carboxy methyl cellulose sodium salt); - Clearing the surface from additional mortars, some of them mixed with cement, and fixing the edges of the original layer. Materials used: lime-based mortar proportion 1/3 (washed sand with medium granulation); - Injecting the mortar with Primal solution in the areas endangered by fall off; - Padding the different size holes and cracks with an apposite material as color and structure. Materials used: lime-based mortar proportion 1/3 (washed sand with different granulation according to the size of the holes); - Cleaning the surface of the painting from lime and impurities; - Disinfecting the surface by spreading Sintosept QR 15 solution. Afterwards the surface was treated with alcoholized water; - Impregnation of friable mortar with a silicate based solution. This solution was applied on the whole surface of the existing original because of its continuous exposure to altering weather conditions. Materials used: Estel 100 (non-hydrophobic). After our intervention, a protecting roof was built over the altar with the hope that in 2008 a final rooftop will be executed. The intervention performed is assuring for now only the preventive conservation of these mural paintings. Our future aim is, besides to sensitize the public to such cases, to attract and involve state institutions for financial and professional support. This way, a larger strategy could be developed at a regional level, for the safeguarding of a segment of art especially endangered that belongs to the European heritage.
Image 7. Church of Nima. The advanced biologic attack on the surface of the painting can be noticed; Image 8. Church of Nima. Detail of mural painting under conservation; Image 8. The murals on the eastern and southern walls of the church during the intervention at the Church of Nima; Image 9. Church of Nima, detail of mural painting. Images 10 and 11. Details from the southern wall of the altar in the church of Nima. Images 12 and 13. Details from the mural painting of Ormani after the conservation intervention. The still wet fillings of the lacunas can be seen.
About the authors
Pál Péter contact: palpeter@zappmobile.ro Pál Péter (b. 1961, Tîrgu Mures) is a conservator and member of S.C. Imago Picta SRL, a conservation enterprise that deals with the safeguarding of endangered monuments, research and conservation of mural paintings, since 2004. He previously worked for several conservation enterprises such as S.C. C.R. and S.C. Ars Antiqua S.R.L, on the conservation of the church-monuments from Daia and Chilieni in Covasna. Currently he is also an assistant at the Human Sciences Faculty of the Sapientia University in Cluj, teaching "Image Interpretative Methods and Techniques". He graduated in Monumental Art and Conservation from N. Grigorescu Art Institute in Bucharest. He has received several awards and grants, from the The Union of Romanian Plastic Artists and from Kemeny Zsigmond Cultural Institute, for a postgraduate course in conservation at the Direction of Historic Monuments in Budapest, Hungary. Kiss Lóránd contact: kisslori@zappmobile.ro Kiss Lóránd (b. 1973, Tîrgu Mures), conservator, is working for S.C. Imago Picta S.R.L. since 2004. He is also a professor at the Arts School from Tîrgu Mures. He graduated from the Arts School in 1991 and followed education at the Ion Andreescu Academy of Visual Arts from Cluj, Romania, obtaining his degree in Graphic Arts in 1996. He also he attended a course in conservation from the Direction of Historic Monuments in Budapest, Hungary, granted by the Kemeny Zsigmond Cultural Institute. He worked in on-site conservation projects within S.C. Ars Antiqua S.R.L. between 1999-2004. At the moment his activity at Imago Picta is focused on emergency interventions and preservation of abandoned monuments from Transylvania.
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