Möller, Hans-Herbert [Editor]; Institut für Denkmalpflege [Editor]; Niedersächsisches Landesamt für Denkmalpflege [Editor]: Arbeitshefte zur Denkmalpflege in Niedersachsen: Schäden an Wandmalereien und ihre Ursachen: ein Forschungsprojekt des Bundesministers für Forschung und Technologie; aktuelle Vorberichte zu den ersten interdisziplinären Befunden ([Hannover]: Inst. für Denkmalpflege, Heft 8.1990)

15

15, 16, 17, 18 Salomonischer Thron, Dokumentation unterschied-
licher Phänomene auf Folien, Übermalungen des 19. und 20. Jahrhun-
derts.

I°°'&'°“1 Übermalungen durch Ölfarbe (1899 und 1938/39).



I Wi I Abgesandete Epidermis durch Salzeinwirkungen.
I$WI Neuputz ausgeführt 1938/39.
IIX; I Balkenlöcher vom ursprünglichen Gerüstbau; die geschlossen
und übermalt wurden.

16


which are still in an acceptable condition as regards colour
and outline, suggests that the colours of the main subjects
were also well preserved. However, it is not possible to deter-
mine the extent to which the painting was damaged by scrap-
ing tools. In a small patch in the upper wing area under the
blind arch of the "Salomonic Throne”, deep traces of hacking
are still visible on the remaining lime layers.
It is uncertain what damage prompted the artist Olbers to
restore the paintings according to the taste of the time in
1898-1899. The subjects were overpainted, varnished or
coated with colourless varnish according to contemporary
taste. The work performed in the 19th century may have pre-
vented complete loss of the paintings by providing surface
sealing that prevented intensive efflorescence.

However, as there are several layers of paint one over the
other in some areas of the figures, another series of repair or
restauration work must have been performed on the paintings.
In 1938/39, work was carried out by the artist Malskat under
the direction of Professor Frey, using strong corrosives. Mal-
skat’s work consisted in closing the large vertical cracks and
painting them, and minor touching-up of faces.
The last work was performed in 1976 and consisted in secur-
ing loose plaster and paint layers. No touching-up or re-paint-
ing was carried out. In conclusion, we have before us a much
overpainted and damaged painting from the 14th century.
Gerhard Drescher

135