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1

Technika nástěnných maleb Jana Jiřího Etgense v Rajhradu u Brna

100%

Šeferisová Loudová M. , Vojtěchovský J. , Lesniaková P.

Umění (Art)

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2024

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tom 72

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nr 1

34-52

EN

The text presents the results of restoration, material and art-historical research of the wall paintings above the choir loft in the western part of the Church of SS. Peter and Paul in Rajhrad near Brno (The Concert of Angels, The Apotheose of St. Agatha and The Apotheose of St. Florian), created in 1726 by the painter and fresco artist Johann Georg Etgens (1691–1757). The research was mainly aimed at identifying the original technique of the work and the technological processes used. The results of the research showed that the original painting was created using the fresco-secco technique, and corresponds to contemporary practice known from surviving early modern instructions and from recent surveys of wall paintings of the Central European region from the eighteenth century. The elements of the work, including plaster layers, engraved underdrawings, pigments, and the manner of painting, correspond to the printed instructions for mural painters in Andrea Pozzo’s (1642–1709) treatise Perspectiva pictorum atque architectorum (1693–1700), a copy of which Etgens provably had in his possession. Microscopic analysis revealed evidence of the paint layer blending with the fresh plaster [10] and the presence of calcium carbonate deposit under the paint layer, known as lime-skin. This confirms that the fresco technique was used not only on freshly applied intonaco but also on drying or completely dried plaster. [11] The discovery of a rare sinopia, which can almost certainly be attributed to Etgens, is unique. Simultaneously, a study was conducted on secondary interventions in the original painting, which had an unusually high number of later overpaintings. These included Etgens’s original corrections made shortly after the paintings were completed, as a new interpretation of the surviving letter from the painter to his commissioner [Appendix] has shown. Therefore, an important aspect of the research was to distinguish secondary interventions, using technical photography among other methods. This non-invasive imaging technique, commonly used to examine hanging or panel paintings or polychromies, was used in this case to survey a Baroque wall painting.

CS

Příspěvek představuje výsledky restaurátorského, materiálového a uměleckohistorického průzkumu nástěnných maleb nad hudebním kůrem v západní části chrámu sv. Petra a Pavla v Rajhradu u Brna (Andělský koncert, Oslava sv. Agáty a Oslava sv. Floriána), jež vytvořil roku 1726 malíř a freskař Jan Jiří Etgens (1691–1757). Průzkum byl zaměřen zejména na zjištění původní techniky díla a technologických postupů, které zde byly použity. Výsledky průzkumu prokázaly, že originální malba byla vytvořena technikou fresco-secco, a odpovídá dobové praxi známé ze zachovaných raně novověkých návodů i ze současných průzkumů nástěnných maleb středoevropského okruhu v době 18. století. Jednotlivé elementy díla (omítkové vrstvy, rytá podkresba, pigmenty, způsob malířského podání) korespondují s tiskem vydanými instrukcemi pro malíře nástěnných maleb v traktátu Andrey Pozza (1642–1709) Perspectiva pictorum atque architectorum (1693–1700), jenž je v tomto případě doložen přímo v Etgensově vlastnictví. Při mikroskopické analýze byly nalezeny jak doklady práce do čerstvé omítky (prolnutí barevné vrstvy a omítky), [10] tak i přítomnost vyloučeného uhličitanu vápenatého pod barevnou vrstvou (tzv. vápenná kůže), která potvrzuje, že ve freskové technice byla malba nanášena nejen na zcela čerstvě nanesené intonaco, ale i poté, kdy omítka vysychala, nebo již zcela vyschla. [11] Za ojedinělé lze označit odhalení vzácné sinopie, u níž je téměř s jistotou možné konstatovat, že pochází přímo z Etgensovy ruky. Zároveň bylo provedeno studium druhotných zásahů do původní malby, která byla převrstvena nebývale vysokým počtem pozdějších přemaleb. Ty zahrnovaly, jak ukázala nová interpretace dochovaného malířova dopisu objednavateli [Příloha], i Etgensovy autorské opravy provedené krátce po dokončení maleb. Podstatnou součástí průzkumu se tak stalo rozlišení druhotných zásahů, přičemž byla využita mimo jiné tzv. technická fotografie. Široká škála postupů této neinvazivní zobrazovací metody, užívané typicky při zkoumání závěsných či deskových obrazů nebo polychromií, byla v tomto případě aplikována při průzkumu díla z oblasti barokní nástěnné malby.

2

Medieval Representation of the Legend of Saint Ladislaus in Comitatus Gömör

100%

Szakalos E.

Saeculum Christianum. Pismo Historyczne

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2018

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tom XXV

113-123

EN

The aim of the article is to carry out detailed analysis of the frescoes of Saint Ladislaus legend in comitatus Gomor. Basing on new research as well as on the examination of the two recent discoveries the Authoress casts new light on the issue of mural painting’s dating and on the circumstances connected with theirs creation. The article starts with an introduction on pictorial representation and written sources of the legend of Saint Ladislaus. The main part of the text contains survey on the frescoes from Rimabanya, Rakos, Kovi, Szilice.

3

Synagogue paintings as indicating a!developing conception of national redemption

87%

Orgad Z.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2019

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tom 25

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nr 34

15-27

PL

Abstract. Orgad Zvi, Synagogue paintings as indicating a developing conception of national redemption. “Images” vol. XXV, no. 34. Poznań 2019. Adam Mickiewicz University Press. Pp. 15–27. ISSN 1731-450X. DOI 10.14746/i.2019.34.01. This article compares the interior paintings in the ‘Ades and Ohel Moshe synagogues, both of which are non-Ashkenazi, in the Naḥlaot neighborhood in Jerusalem. Although the synagogues were decorated 50 years apart, there are similarities in the painted motifs and drawing schemes, but also some differences. I suggest that these differences reflect the development of a Jewish concept of national redemption during the 50 years that elapsed between the adornment of the two synagogues.

4

Nowe ustalenia w zakresie funkcji i wystroju empory kościoła pofranciszkańskiego w Toruniu

75%

Jakubek-Raczkowska M. , Raczkowski J.

Zapiski Historyczne

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2020

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tom 85

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nr 1

163-186

EN

The article addresses the original function of the matroneum in the former Franciscan Church of the Assumption of the Holy Virgin Mary in Torun. These remarks are the result of the latest discoveries and technological research. The matroneum, situated above the cloister in the northern nave of the church, was built during the reconstruction of the church to its present form. Based on a dendrochronological examination, the matroneum was secured with a wooden railing in the 1350s and later. Due to a lack of written sources, the functions of the matroneum are not determined in scholarly publications. It may have been used as an oratory for friars. The authors analyse the architectural shape of the matroneum, take into account its original communication with the church and monastery and the remains of its furnishing. The study of the architectonic structure and the staircase that now leads from the nave to the matroneum allows to determine that it was constructed only in the eighteenth century. In the Middle Ages, the matroneum was connected to the monastery through a passage that is now bricked up, and to the ground floor of the church it was connected through an older, thirteenth-century staircase tower. A convenient, direct communication between the matroneum and the dormitory, the fact that the monastery was not directly connected to the presbytery, and the fact that the church choir was rebuilt at the end of the fourteenth century reinforce the theory that the matroneum was used for liturgical purposes. The authors also discuss the previously unknown polychrome relics inside the matroneum. These are, respectively, a relic of a fourteenth-century heraldic representation with the head of an ox and a remnant of a figural scene on the northern wall from the last quarter of the fourteenth century. Both paintings have been subjected to in-depth research, including non-destructive methods (XRF, UV and IR). The first of the paintings, probably the coat of arms of a burgher family, may be a proof that the laymen had access to the interior of the matroneum. The second painting reinforces the assumption of the authors regarding the liturgical use of this place.

5

Kaplice czy kaplica? O zawiłych dziejach kaplic(y) św. Bartłomieja i św. Jadwigi w gdańskim kościele Najświętszej Maryi Panny i o ich znaczeniu dla badań nad średniowiecznymi elementami wystroju

75%

Grabowska-Lysenko A.

Zapiski Historyczne

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2022

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tom 87

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nr 1

27-62

EN

According to the findings of the research into the history of St. Mary’s Church in Gdańsk, in its eastern part, behind the main altar, three liturgical centres operated in the Middle Ages: the Chapels of the Holy Sepulchre and of St. Bartholomew, which divided the wide architectural space on the axis of the temple, as well as the Chapel of St. Hedwig, located to the south of them. In the latter, a set of wall paintings and a reredos have survived to the present day, the aspects of which have been analysed mainly in relation to the scanty information on the history of this chapel. The example of the decoration of a chapel referred to as ‘Chapel of St. Hedwig’ shows how important, from the point of view of historical and artistic research, it is to use written sources, both those contemporary to the created works of art, and those from a later period. An in-depth analysis of various source materials related to the history of the chapels mentioned above, especially documents related to the Chapel of St. Bartholomew, founded in 1451, has made it possible to establish that in fact there were formerly only two chapels behind the main altar: The Chapel of the Holy Sepulchre (later also called the Chapel of St. Gertrude) and – on the southern side – the Chapel of St. Bartholomew, which as early as at the beginning of the 16th century was commonly referred to as the Chapel of St. Hedwig. Putting this issue in order will make it easier to analyse the objects found in the Chapel of St. Bartholomew/Hedwig in a more comprehensive manner – as a group of works that are the effect of a more uniform concept, and it will enable a more precise dating of the works, which in turn may serve as a starting point for further research into the artistic environment of mid-15th century Gdańsk.

6

Marina el-Alamein: newly discovered bath after the 2017 season

75%

Jakubiak K.

Polish Archaeology in the Mediterranean

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2018

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tom 27(1)

57-66

EN

Most of the activity during the 2017 season at the archaeological site of Marina el Alamein was focused on two areas situated in the northern part of the town. Building H 40 was one of the main excavation targets: two rooms were cleared, originally part of a large, multi-roomed and most probably prosperous house. The other target was the structure H 39, already explored in earlier seasons, which was now confirmed as a small but richly decorated bath complex with traces of wall painting and geometric mosaic floors.

7

Wall Paintings in Ancient Cyprus: The Hellenistic and Roman Tombs of Paphos and Its Region

75%

Lysandrou V. , Michaelides D.

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2021

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nr 34

207-253

EN

This paper presents the wall paintings decorating a number of Hellenistic and Roman tombs, of various architectural types, in Paphos and the region. The paper gathers together for the first time all the known published and unpublished painted tombs of the city, which are studied on the basis of observations made on the actual decoration preserved either in situ or in the laboratory of the Paphos District Museum, and with the use of all pertinent publications. A catalogue of these tombs has been created and this is accompanied by a map with the geographic location of each example. The various themes represented on wall paintings have been divided into groups and are discussed accordingly, while the manufacturing technology of a sample of the wall paintings is examined using both non-contact and analytical tools.

8

No “painting by numbers”. Khuwy’s polychrome wall decoration at Djedkare’s royal cemetery

75%

Pieke G.

Pražské egyptologické studie (Prague Egyptological Studies)

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2021

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nr 26

23-45

EN

The mastaba of Khuwy at the Djedkare’s royal cemetery at South Saqqara is one of the earliest attested decorated burial chambers. The very well preserved wall paintings on low relief in the antechamber of the substructure bear testimony to the high standard of this particular form of art already in the Old Kingdom. In combination with the iconographic concept and composition of the chamber, Khuwy’s paintings offer a very rare opportunity for an in depth study of the painting process and the art techniques of this period. A short preliminary study has already managed to record some specific painting practices used in the ante chamber. It is evident that the painter(s) responsible for the decoration of the antechamber were particularly interested in rendering details. Their work is characterised by a specific use of different colours and their shades in combination with skilful execution of painted and drawn details particularly in the depictions of the textures of the represented objects and animals.

9

Beyond Textiles: Alternative Uses of Twisted Fibres and Evidence from Akrotiri, Thera

75%

Vakirtzi S. , Georma F. , Karnava A.

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tom 56(1)

75-88

EN

Fibre crafts are among the oldest technological practices of mankind. Although commonly associated with textile manufacture, twisted fibres in the form of threads have always had a wider range of use in everyday life. Strings and ropes constitute a humble but essential category of fibre products deriving from the same technology and organic matter as threads. Due to their organic nature, however, they are rarely preserved in the archaeological record, unless special environmental conditions occur. This paper explores the research potential of the imprints of threads and strings in a study focusing on the alternative uses of fibre-spun artefacts. The focus is on the Bronze Age Aegean imprints of threads and strings preserved on objects made of clay and on wall paintings recovered at Akrotiri on Thera. The technical properties of the original threads and strings are evaluated through observation of their imprints, and the fibre technology used for their production is assessed. The methodologies of spindle whorl metrology and experimental spinning are also integrated in the discussion. Ultimately, the use of threads and strings for a variety of purposes, including but not limited to textile production, is discussed.

10

Fragments of Wall Paintings From Polish Excavations at Kom El-Dikka, Alexandria

75%

Tkaczow B.

Études et Travaux (Institut des Cultures Méditerranéennes et Orientales de l’Académie Polonaise des Sciences)

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2014

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nr 27

421–439

EN

The study of mural painting in ancient Alexandria is still based on images decorating walls of Alexandrian tombs due to the fact that discoveries of painted plaster at archaeological sites in the ancient city are rather scarce and poorly documented. For this reason, the analysis of painted decorations from both public buildings and private houses has to be supported with references to the material from the necropolis. Fragments of mural paintings, unfortunately not in large numbers, were found on the walls of buildings discovered at Polish excavations at Kom el-Dikka. They are mostly decorations of house interiors, both from the Early Roman and Imperial Periods (first–third centuries AD) as well as the Late Antique Period (fifth–sixth centuries AD). Very few remains of painted decoration of public buildings were preserved in several so-called auditoria and in some rooms of Imperial Baths. Rich assemblages of painted plaster pieces were found in debris filling interiors of particular buildings. A common presence of uniform patterns and colours indicates that the majority of the material might have come from a single large edifice located in the vicinity of Kom el-Dikka. The material, which consists of several hundred remains, includes a rich selection of imitation of stone revetment, fragments of ornamental decorations and pieces which come from bigger figural compositions. All this material could be a starting point for an in-depth study of painted decoration of Alexandrian architecture between the first and the sixth centuries AD.

11

Konserwacja reliktów architektury i malarstawa ściennego w Marinie el-Alamein

75%

Medeksza S.

Architectus

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2000

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tom Nr 1(7)

5--18

PL

W okresie od 16 marca do 30 maja 1999 r., w Mannie el-Alamein, na terenie wczesnorzymskiego miasta, piąty sezon [7, s. 42-52], [8, s. 82-88], [9, s. 72-76], [10, s. 51-62], pracowała polsko-egipska misja konserwatorska.Głównym tematem prac konserwatorskich jest częściowa rekonstrukcja reliktów domów mieszkalnych i ich wyposażenia, pochodzących z okresu grecko-rzymskiego, oznaczonych na planie numerami H9 i H9a oraz H10, HlOa, HlOb i H19 (ryc. 1 i 2). Na podstawie znalezisk oraz biorąc pod uwagę wyniki badań polskich archeologów pracujących na terenie zachodniej nekropolii sądzimy, że miasto funkcjonowało w długim okresie od II w. p.n.e. - VI w. [3, s. 12], [8, s. 82-88]. Domy mieszkalne, w ich pierwszej fazie, roboczo można datować na koniec I i na II wiek [8, s. 82-88], [10, s. 51-62], [12, s. 117-154]. W późniejszym okresie były one wielokrotne przebudowywane. Struktury poddawane konserwacji są wstępnie datowane na koniec II i III w. W niewiele zmienionej formie domy te funkcjonowały co najmniej do końca IV w. [ 10, s. 51 -62], [12, s. 117-154]. Zniszczenie układów pierwotnych wiązać można ze skutkami jakiegoś kataklizmu. Może było to trzęsienia ziemi. Tego typu hipotezę sugerować mogą mury i kolumny przewrócone do pozycji poziomej w niezmienionym, choć rozłuźnionym układzie wątku. W ostatnim czasie uchwycono w paru miejscach pierwotny poziom zabudowy. W domach HIOa i H9b oraz pierwszy poziom użytkowy ulicy przy wejściu do domuH10 jest o około 1,00 m niższy od poziomu kamiennych posadzek domów z końca II i przełomu III i IV w.

EN

The Polish-Egyptian Conservation Mission, directed by the author, has been working in Marina el-Alamain on the terrain of an early Roman town, for the fifth season. The subject of the con-servation works is a complex of dwelling house relics together with the furnishings originating from the Greek-Roman period. It is very difficult to date them as we have no evidence from older excavations. Basing on our findings and taking into consideration the results of investigations of Polish archeologists carrying out explorations in the area of the western necropolis, we think that the town together with its necropolises functioned in a long time span, from the 2nd to the 6th century B.C. Whereas, the houses may practically be dated as coming from the end of the 1st and 2nd century B.C. Later, they were rebuilt many times. The structures undergoing conservation we initially date at the 2nd to the 4th century B.C. The devastation of original arrangements may be bound partly with the results of various c^aclysms and partly with natural degradation. In the last years we have been able to observe in some places an earlier level of building, about 0,80-1 m lower than the level of the houses undergoing conservation. The houses are located in the southern part of the antique town whose ancient name has not, as yet, been precisely determined. According to analyses of sources the town could have been called Leucaspis or Antiphrae. We have no material references which would enable us to establish ultimately its name. In the season of 1998 we came upon on the relics of a niche enclosed by plastered half-columns and surmounted by a moulding and a triangled tympanum filled by a conch. There were also discovered fragments of paintings which we connect with the solar cult. The reconstructed fragment shows three busts of figures above the clouds. Each of the heads is surrounded by a halo. The first on the left is Helios, the second Harpokrates as the young sun, and highest is Serapis. They all look to the right. The main figure was in the axis of the painting and this, up to our times, has been preserved only in faint fragments. To the right, symmetrically to the preserved figures there were, most probably, female moon deities: Selene versus Helios and Isis as the mother of Harpokrates. As yet, it has not been determined which goddess could have been the third image in this, without doubt, symmetrical painting. Initially, on the basis of the style, we can assume that the cult niche with this painting comes, most probably, from the turn of the 2nd and 3rd century B.C. These opinions will, succeedingly, be verified by comparative studies. The niche itself shows a double-phaseness. On the basis of vague fragments of capitals we may initially ascertain that at least in phase I they represent a type called Nabatean, popular in the locality of Marina. The painting underwent carefull conservation in the season of the year 1999. Due to constant, very profuse graining out, its transformation to a new, free from pollution foundation, was decided. Also in the season of 1999, the niche in accomodation 2. was subjected to partial anastylosis and reconstruction. We do not foresee the mounting of the painting in the niche. The original, after conservation, has been prepared for exposition in a museum. During the cleaning of accomodation 2. we came upon an additional, small accomodation. It is located next to the main entrance to the house. From the rubble heaps we extracted a fairly well preserved relic of another wall painting, most probably presenting Heron or Serapis, with fragments of a painted black frame. Initially, we can also date it at the turn of the 2nd and 3rd century. The bearded head is surrounded by a blue halo, the hair flows on either side of the neck to the shoulders. A mondius is recognizable on the head. From behind the right shoulder there is visible the handgrip (hilt-guard) of a sword or the shaft of a spear. The figure holds a cornucopia in its left hand. A fragment of a garland is seen above the figure. This may testify to the fact that the figure discovered may only be a part of the presentation. A fragment of the lower part of the painting has been preserved, showing either a pedestal on which stood the fully dimensioned figure or a fragment of the altar. Doubts as to the interpretation of details are created by the very bad state of the painting's surface. In 1999 the painting was subjected to a detailed conservation. In this case the foundation was supplemented, it was formed of artificial stone. The painting was made ready for a museum expo-sition. In the portico courtyard and surrounding accomodations there were found many architectonic details. These were: fragments of mouldings, tambours, capitals and bases of columns, as well as fragments of door jambs. All architectonic details have been catalogued.

12

Pigment mineralogy, chemical composition and stratigraphy of wall paintings in the Church in Włościejewki, Poland

63%

Węcławska M.

Wiadomości Konserwatorskie

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2020

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tom Nr 64

161--171

EN

The sixteenth-century geometrical polychromies that were discovered during conservation works in a medieval church in Włościejewki provided an extraordinary opportunity to examine the original structure of old painting layers and compare them with newer ones. Scientific research was carried out to obtain and confirm the stratigraphy of the paintings and enhance the knowledge about the techniques and pigments that had been used there. This paper presents a mineralogical and petrographic characteristic of the materials. The analysis was performed in painting layers such as: plaster, whitewash and pigment. They originated from layers created between the sixteenth and nineteenth century. Four microscopic observations of thin sections were made, using reflected and transmitted light. Samples that turned out to be too fragile were examined using a scanning microscope equipped with an EDS detector. The research also described in detail the plaster and the whitewash. Monochromes of the background, details of walls and ceilings were made on lime whitewash using the dry fresco technique. The study illustratively demonstrates the structural and textural variability of the painting layers through the ages. The study’s findings show a slight variability of the pigments, mainly iron oxides based pigments.

PL

Szesnastowieczne polichromie geometryczne, które odkryto podczas prac konserwatorskich w średniowiecznym kościele we Włościejewkach, dostarczyły nadzwyczajnej możliwości zbadania oryginalnej struktury starych warstw malarskich i porównania ich z nowszymi warstwami. Przeprowadzono badania naukowe, aby otrzymać i potwierdzić stratygrafię malowideł i pogłębić wiedzę na temat użytych technik i pigmentów. Niniejszy artykuł prezentuje mineralogiczną i petrograficzną charakterystykę zastosowanych materiałów. Analizę przeprowadzono na takich warstwach malarskich, jak: tynki, farba wapienna i pigmenty. Zostały one pobrane z warstw wytworzonych pomiędzy XVI i XIX wiekiem. Wykonano cztery obserwacje mikroskopowe na preparatach, wykorzystując światło odbite i przechodzące. Próbki, które okazały się zbyt delikatne, zostały przebadane przy użyciu mikroskopu skanującego wyposażonego w detektor EDS. Badanie również szczegółowo opisało tynk i farbę wapienną. Monochromie tła, detale ścian oraz sufitów wykonano na farbie wapiennej przy użyciu techniki suchego fresku. Badanie ilustratywnie przedstawia strukturalne i teksturalne zróżnicowanie warstw malarskich w różnych wiekach. Wyniki pokazują nieznaczne zróżnicowanie w pigmentach, głównie opartych na tlenkach żelaza.

13

W sprawie proponowanych nowych ustaleń na temat kościoła pofranciszkańskiego w Toruniu

63%

Nawrocki Z.

Zapiski Historyczne

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2022

|

tom 87

|

nr 3

123-132

EN

The text constitutes a commentary on the text by Monika Jakubek-Raczkowska and Juliusz Raczkowski, published in Zapiski Historyczne, with regard to the dating of the final expansion of the Church of the Assumption of the Blessed Virgin Mary in Toruń to the present form, which extended the church to include the earlier southern wing of the monastery. Based on various evidence (including information that King Casimir the Great is reported to have listened to the organ allegedly located in the northern matroneum of the completed church in 1343), the above-mentioned authors put forward the hypothesis that the expansion may have been carried out in the first half of the 14th century, that the church had already had its present-day three-nave structure, and that the two analysed fragments of paintings, which are located in the niches of the northern wall of the matroneum, are part of a once large composition related to its medieval function within the church. The author of this commentary upholds the findings of his own research published in print in 1966, that the final expansion of the church took place in a later period, while the paintings of the presentday matroneum, analysed by Monika Jakubek-Raczkowska and Juliusz Raczkowski, did not ornament the matroneum, but a room or rooms upstairs in the monastery’s south wing.

14

Wall paintings from the House of Aion at Nea Paphos

63%

Jastrzębowska E.

Polish Archaeology in the Mediterranean

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2018

|

tom 27(1)

527-597

EN

This paper studies a collection of painted plaster fragments excavated between 1984 and 1989 in the northern part of the so-called House of Aion, that is, three small rooms (Nos 3, 13, 14, 15 and 7). The architectural context of these finds and their dating is first recapitulated: the house was constructed in the second half of the 4th century only to be demolished by a strong earthquake at the end of the century or the beginning of the following one. Most of the plaster pieces were small and of little significance in terms of the remaining colors, but a few from Room 7 were sufficiently well preserved to support a reconstruction of parts of five figural images (three muses, Apollo and a mask) and determine their hypothetical position in this room. Parallels, in painting and floor mosaics, range from Ephesos and Kos in the east to Vichen (Luxembourg) in the west. Based on the iIonographic identification, the 4th century AD Muses from Paphos could be recognized as: a standing Thalia holding a mask, a seated Urania and a standing Euterpe with a double flute in her hand, accompanied by Apollo holding a lyre. Together they constituted typical decoration of a Mediterranean Roman house, common from the early Empire through late antiquity.

15

Badania konserwatorskie przyczynkiem do odkrycia i konserwacji renesansowej dekoracji ściennej we wnętrzu sali Reprezentacyjnej Kamienicy Królewskiej we Lwowie

63%

Hanuliak L. , Boliński P.

Wiadomości Konserwatorskie

|

2023

|

tom Nr 74

60--72

PL

Czynnikiem warunkującym właściwą ochronę i konserwację dziedzictwa kulturowego jest kompleksowa wiedza o nim. Aby wiedza ta była pełna, potrzebne są również kompleksowe badania konserwatorskie chronionego obiektu. Badania te, mające charakter interdyscyplinarny, stają się podstawowym kluczem do sformułowania odpowiednich wniosków i celów planowanych działań konserwatorskich. Przykładem takiego kompleksowego podejścia do zabytku są badania oraz prace konserwatorskie w Sali Reprezentacyjnej Kamienicy Królewskiej oddziału Lwowskiego Muzeum Historycznego. Przykład ten ukazuje pełną korelację wyników badań i opracowania projektu konserwatorskiego wraz z realizacją konserwatorską. Dzięki takiemu podejściu uzyskano spójną koncepcję w zachowaniu i eksponowaniu odkrytych poszczególnych faz historycznych. Realizacja ta stała się kolejnym przykładem ukazującym potrzebę zaangażowania wielu dyscyplin nauki w proces właściwej ochrony materialnego dziedzictwa. Jest to tym ważniejszy przykład, ponieważ utwierdza nowe standardy konserwatorskie na wschodzie Europy.

EN

Comprehensive knowledge about cultural heritage is a factor that determines its proper protection and conservation. For this knowledge to be complete, comprehensive conservation investigation of a monument is also required. This investigation, which is interdisciplinary in nature, becomes the primary key to formulating appropriate conclusions and objectives for planned conservation measures. One example of such a comprehensive approach to a monument is the investigation and conservation work in the Formal Hall of the Royal House of the Lviv branch of the Lviv Historical Museum. This example shows the full correlation of the results of the investigation and the development of a conservation design and its execution. With this approach, a coherent concept was obtained in preserving and exhibiting the uncovered individual historical phases. The project has become another example demonstrating the need to involve multiple scientific disciplines in the process of proper preservation of material heritage. This is an even more important example, as it solidifies the new conservation standards in Eastern Europe.

16

Unearthing Houses in Porphyreon and Chhim. Structure, Spatial Development, and Decoration of Domestic Spaces in Late Antique Phoenicia

63%

Waliszewski T. , Burdajewicz J.

Światowit

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2019

|

tom 58

173-195

EN

Porphyreon (Jiyeh/Nebi Younis) and Chhim were large rural settlements situated on the coast of modernday Lebanon, north of the Phoenician city of Sidon. As attested by the remains of residential architecture, they were thriving during the Roman Period and late Antiquity (1st–7th centuries AD). This article presents the preliminary observations on the domestic architecture uncovered at both sites, their spatial and social structure, as well as their furnishing and decoration, based on the fieldwork carried out in recent years by the joint PolishLebanese research team. The focus will be put on the wall painting fragments found in considerable numbers in Porphyreon. The iconographical and functional study of the paintings betrays to what extent the inhabitants of rural settlements in the coastal zone of the Levant were inclined to imitate the decoration of the urban houses known to them from the nearby towns, such as Berytus, but also from religious contexts represented by churches.

17

Dealing with authenticity in the conservation and restoration of wall paintings and architectural surfaces

63%

Schädler-Saub U.

Ochrona Dziedzictwa Kulturowego

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2019

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tom Nr 8

301--324

EN

Authenticity is a key term in the modern theory and practice of heritage preservation. The great influence of this term began with the Venice Charter and increased in the following decades until this day, as numerous documents and publications have dealt with issues concerning the concept and significance of authenticity. However, the term is characterized by a certain vagueness, despite its central role in the international debate. This article presents three case studies related to the conservation-restoration of wall paintings and architectural surfaces in Germany and Italy and uses them to clarify some central theoretical issues, intertwining them with practical needs and demands. The multi-layered meanings of authenticity in the practice of conservation-restoration can range from the respectful preservation of the handed-on conditions and appearance of a work, with all material remains of its reception and interpretation, to the critical evaluation of historical restorations based on scholarly value judgments, and even to the reconstruction e. g. of architectural surfaces as a method for the sustainable protection of historical findings and a good way to visualize historical presentations and hand on traditions of craftmanship. For such a broad spectrum of meanings, the term authenticity can become a helpful umbrella term in interdisciplinary and transdisciplinary communication, well-known and appreciated by all experts and by the public. In order to avoid the use of the term authenticity as a catch-all that can mean everything or nothing, the relationship with case studies can bring awareness about the broad palette of these approaches and how the theory and practice of heritage preservation are always interconnected.

18

Conservation in Marina el-Alamein in 2017 (Polish–Egyptian Conservation Mission)

63%

Zambrzycki P. , Selerowicz A.

Polish Archaeology in the Mediterranean

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2018

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tom 27(1)

85-92

EN

The conservation program of the Polish–Egyptian Conservation Mission in Marina el-Alamein in 2017 included restoration of wall structures and architectural decoration elements damaged as a result of unfavorable climate conditions (Houses H9/H9a and H21, Rooms 10 and 11 in the Roman baths). Wall paintings exposed to weather conditions in situ were treated as part of another conservation project. Minor metal finds were also treated using both chemical and mechanical means in order to identify the objects.

19

Identyfikacja pigmentów z zabytkowych polichromii we wnętrzach kamienicy nr 41 na Starym Rynku w Poznaniu

51%

Filipiak M.

Przegląd Geologiczny

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2015

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tom Vol. 63, nr 7

418--425

EN

The subject of this study are polychromes in a tenement house in the Old Market Square, Poznan. The main aim of this research was to identify a palette of pigments used in the interior wall paintings. Cross-sections of polychromes, which are dated to the fifteenth century and later, were analysed. Petrographic analysis, especially in reflected light, electron microscopy (SEM-EDS) method, infrared imaging technique (FTIR-ATR) and Raman microspectroscopy were used. The following pigments were identified: minium, red ochre, litharge, massicot, orpiment, yellow ochre, malachite, chalk, lead white, lamp black and vine black.

20

Identyfikacja pigmentów polichromii we wnętrzach kamienicy nr 43 na Starym Rynku w Poznaniu

51%

Filipiak M.

Ochrona Zabytków

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2015

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nr 2

171-183

EN

The article presents results of research of wall paintings located in a fifteenth-century tenement house in the Old Market Square, in Poznań. Almost 60 small fragments of polychromes were analised using methods of: optical microscopy, spectral analysis and observation in micro-area (SEM-EDS), infrared imaging technique (FTIR-ATR) and Raman microspectroscopy. Following pigments were identified: lead minium, red ocher, massicot, yellow ocher, malachite, azurite, chalk, charcoal (beech), vine black and lamp black.