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JAL-a u acetonu. Korišćen je stakleni sud sa OHO SPE-CIJAL-om, da bi se lakše pratio cio proces konsolidacije.Fragmenti su potopljeni u pripremljeni rastvor i tu sudržani dok nisu prestali da izlaze mjehurići vazduha,odnosno sve dok OHO SPECIJAL nije istisnuo vazduhiz svih pora keramike i zauzeo njihovo mjesto. Zatim suizvađeni i ostavljeni na čistoj podlozi da se osuše.Izbor lijepka je vrlo važan kod rekonstrukcije keramike.Za lijepljenje keramike koristi se najčešće OHO lijepak,(mješavina polivinil acetata PVA i nitro celuloze),jer je po svojim karakteristikama najpodesniji.Za popunjavanje nedostajućih površina upotrebljenje Fundal gips. Kao pomoćno sredstvo kod restauracijeovog fragmentovanog pehara korišćen je vosak. Prijeupotrebe vosak je zagrijan i podešen sa unutrašnje stranepehara. Zatim su sa spoljašnje strane praznine popunjenegipsom, koji je pripremljen u posudi od gume. Nakonsušenja, gips je dotjeran najprije grubljim, a potomveoma finim šmirgl papirom. Cio ovaj postupak bio jeobavljen sa velikom pažnjom, da se ne bi oštetila površinakeramike u blizini restaurisanih djelova. Poslijeobrade šmirgl papirom nivo gipsa je izjednačen sa nivoompovršine keramike.Po okončanju finalne obrade gipsa, restaurisanazdjela je prebrisana vlažnom krpom, da bi se očistila odgipsane prašine i ostataka gipsa.Poslije sušenja, gipsani djelovi su obojeni prirodnimpigmentima, pomešanim sa rastvorom akrilne emulzije idestilovane vode, čime je i završen postupak obradeovog pehara. Finalna konsolidacija nije rađena. moved from the solution with tweezers and left to dry.It is, of course, very important to choose an adequateadhesive when dealing with restoration of ceramicvessel. In our country, OHO glue is mostly used for joiningceramic shreds. It is a mixture of polyvinyl acetateand nitro cellulose and considered the most adequatefor this type of joining. Edges must be clean,every pore must be free of dirt, so that the strongestpossible bond could be achieved. In the case of the beakerfrom Zlatica, edges were covered with a thin layerof adhesive.In the Laboratory of the National Museum Belgrade,conservators use the materials for restoration that caneasily be bought in our country. For this particular object,Fundal gypsum was used, as well as wax for moulding.Waxwas heated and sticked to the inner side of thevessel. At the outer side, gypsum was added, previouslyprepared in a rubber bowl. When gypsum was completelydry, it was ready for treatment, first with rough andthen with fine sandpaper. This phase was carried outparticularly carefully, so that ceramics close to restoredparts would not be damaged. Sanded parts were leveledwith the object surface.When restoration was finished, the vessel was wipedwith moistened cloth to remove the remains of gypsumdust.After drying, the gypsum parts were retouched withnatural pigments, mixed with a solution of acrylicemulsion in destiled water and the treatment was finished,since no final consolidation was done.Gorazd Lemajič, konzervator,Narodni muzej SlovenijePrednosti upotrebe transparentnogPVC kalupa kod dopunjavanja delovakoji nedostaju na šupljem stakluKad sam počeo sa radom na predmetima od stakla,nisam poznavao kolege restauratore, koji se baverestauracijom stakla, a i literature iz ove oblasti je biloveoma malo. Tako sam bio prepušten samome sebi. Odvelike pomoći mi je bilo prethodno znanje o kalupima imaterijalima, koje sam dobio na Likovnoj akademiji kakovajar. Postupke koje sam tamo naučio nisam želeo daproveram na muzejskim predmetima i da preko njih stičemiskustvo, pa sam se odlučio da potražim druga rešenja.Na samom početku sam identifikovao probleme ufazama rada i svrstao ih u grupe: 1) pričvrščivanje kalupana staklo, 2) razmak između unutrašnjeg i spoljašnjegkalupa, 3) injektiranje i ulivanje, 4) mehurići iskupljanje smole.Već na samom početku mog rada sa staklom bilo mije jasno da ću se teško probiti kroz različite aspekte kojisu sastavni deo procesa restauriranja stakla. Prilikomisprobavanja različitih tehnika i materijala za kalupe,došao sam do zaključka da se konstantno pojavljuje nekolikobitnih problema koje mogu da rešavam samo delimično.Pričvršćivanje kalupa na stakloProblemi i posledice sa kojima se susrećemo prilikompričvršćivanja kalupa oko fragmenta koji nadostajepovezani su sa curenjem smole iz kalupa, curenjempreko originala, stvaranjem stepenice na prelazu original-dopuna,slivanje lepka u kalup (silikonska guma kojompričvršćujemo kalup na staklo).- kalup mora da bude na staklo pričvršćen tako da154Gorazd Lemajič, National Museum of Sloveniae-mail: gorazd.lemajic@narmuz-lj.siAdvantages of using a transparentPVC mould used in the process ofreplacing missing pieces on hollowglass objectsWhen I started to work on glass objects, I had neitheraccess to any literature on this subject normuch contact with other museum restorers, so I had torely on my own limited knowledge about materials andmoulds which I had gained during my study of sculpture,and as I did not find it appropriate to test the routineprocedures on museum specimens, I chose a differentway to gain new experience and learn how to apply moresuitable procedures. Initially, I identified problemsthat were likely to emerge in each phase of my work andclassified them into four groups: 1) fixing moulds toglass; 2) Maintaining the space between inner and outermoulds; 3) injecting and casting; 4) dealing with airbubbles and shrinking of resin.I was aware that it would be very difficult to overcomevarious problems emerging in individual phases ofthe glass restoration process. While testing differenttechniques and materials for moulds, I noticed that acouple of key problems were recurring which I was ableto solve only partially.Fixing moulds to glassWhen replacing missing sections of glass with liquidresin, a mould is fixed around the missing piece in sucha way as to prevent the resin from flowing out over theoriginal and forming a step where the original and thecast meet, and prevention of liquid silicone rubber usedas to seal the silicone rubber mould to the glass fromflowing into the mould.