EN
In 1990, the author of the article, together with Katarzyna Kowalska-Dzienniak, completed a two year-long conservation of the Lamentation of Christ. The work was conducted in the Department of the Conservation of Paintings and Polychromie Sculpture at the Nicholas Copernicus University in Toruń, under the supervision of dr Bogumiła Rouba. The painting, probably originally an altar composition executed at the turn of the seventeenth century, was seriously ruined. Torn, bent, with extensive gaps in the losse painting layer, and with later oil additions made directly on the disclosed canvas, it resembled, prior to the conservation, a dirty old rag. Conservation work was preceded by a thorough technological and historical-artistic examination which made it possible to establish i. a. iconographie analogies with the works of Rubens that proved to be helpful in reconstruction. The painting was then cleaned, the later additions were removed and the torn canvas was glued together. The reconstruction itself was highly uncoventional. The traditional imitation method was applied only in selected fragment, and it was accompanied by an untypical solution known as „drawing-textural” reconstruction. The prime motivations were requirements of conservation principles and a desire to show a symbolic connection perceived between the dramatically depicted scene of the Lamentation and the fate of the painting itself whose traces were its devastation. It was recognised that such a conception is not only a purely technical solution but to a considerable extent one which appeals to the sensitivity of the viewer, thus making the work „alive”. By restoring its „ability to talk to the viewer”, it reinstates its value as an exhibit even more completely.