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1

Odkrycie obrazu Ecce Homo z XVII wieku

100%

Niedzielska M.

Ochrona Zabytków

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1975

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issue 1

55-61

EN

The author of the present report was in 1973 entrusted with the restoration of a nineteenth-century painting on the front surface of which is shown the image of the Man of Sorrows (,,Ecce Homo” ) whereas on that rear an earlier painted Veraikon. In the course of restoration from beneath of the front painted layer another figure of the Man of Sorrows apearod, this one, however, dating from the 17th century. With the restorer’s examination has been covered the panel, the ground layer, the pigments and the binder. The nineteenth- -century overpaintings were chemically removed by the use of N,N-dimethyl formamide and, finally, the surface was cleaned mechanically. . The above described examination and cioaning made it possible to establish the teclmiques applied for execution and to determine the time at which the painting was produced that, among the others, could be defined basing on the diagonally planned artistic composition of painting, the composition of its ground layer (bolus with calcium carbonate admixture) and also that of the oil-resin binder. Artistic analysis has proved that the style of composition is one that can be found in paintings of similar kind coming from the period covering the 16th and 17th centuries ; however, the painting under discussion is one belonging to a group of those smaller in their size representations of Ecce Homo and, according to every probability, was painted by an artist from the North- -European circles active in Baroque period.

2

Konserwacja mozaiki bizantyjskiej Madonny z klasztoru Klarysek w Krakowie

100%

Niedzielska M.

Ochrona Zabytków

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1973

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issue 3

201-208

EN

In the Clarissan Nuns Monastery neighbouring St. Andrew Church, Cracow a Byzantine mosaic made in the XII—XIH-century Constantinople is being preserved depicting the Holy Virgin in a half-figure with an image of Christ placed within the upper right corner. In view of its high artistic rank the above mosaic is to be considered as a very valuable monument of ancient art the more so that its overall dimensions of 22,3X17,3 cm are extremely small and the size of the individual tesserae does not usually exceed an average of 1 mm3 whereas those of whom the pattern of Christ’s and Virgin’s faces and hands was set up are even smaller. Both detailed examination and careful restoration of this mosaic have been carried out early in 1967. After taking the picture out from its frame and removing the gilded ornamented plaquette which was placed in the left upper corner it has been revealed that this latter was covering a fairly big area of the lost and damaged mosaic that was filled up with a thick and unevenly laid wax layer attracting the dust particles. The entire surface of mosaic was covered with dirt and thus darkened and the further observations have shown that the Virgin’s right cheek and eye were also distorted as the tesserae have been wrongly laid The chief problem in restoration consisted in the and, as a consequence, disturbed in their arrangement, proper placing of the extremely small-sized tesserae. It proved necessary to use a method that would prevent the total dissipation of tesserae forming the proper pattern. The separate areas of mosaic pattern had to be covered with the cut to exact size bits of tracing paper that was fixed to the surface by means of wax. The thus secured fragments were then taken out and laid back onto the wax-resin support which the operation was carried out under magnifying glass. A considerable loss within an area forming the background and partly that of nimbus was replaced with the wax-resin paste whose surface was given a tex ture resembling that of the original mosaic. The examinations carried out have revealed that the mosaic was laid on the lime wood panel coated with the very dark, nearly black coloured wax support. The tesserae were prepared of the differently coloured marble fragments, of the glass paste as well as of the copper gold-plated plates and those made of gold and silver. The structure of the whole picture exhibits some kind of both technical and technological heterogeneity (cf. the Virgin’s garment) thus giving a rise to assumption that the separate portions of mosaic could be executed in different periods and subjected to restorations after damages suffered.

3

Badania technologiczne i konserwacja podobrazia drewnianego epitafium Wierzbięty z Branic

100%

Niedzielska M.

Ochrona Zabytków

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1970

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issue 2

89-96

EN

The Wierzbięta of Branice epitaph portrait dating back to 1425, now a property of the National Museum, Cracow, represents one of the most ancient pictorial documents of medieval culture in Poland. In 1936 the picture was subjected to essential restoration whose failure consisted in using the sodium silicate (soda liquid glass) as wood preservative for the backing affected by lignicole insects. To obtain more efficient saturation of the board the latter has been cut half-deep of its thickness. In effects of the sodium silicate action the glutin-containing glue fastening the boards together has been hydrolysed. The boards unglued and the paint layer along the former glue joint was held only by means of a canvas strip covering the joint line. As result of impregnation with soda liquid glass the backing of the Wierzbięta portrait underwent strong alkalization that manifested itself by extreme suscebility to changes of temperature and relative air humidity and also by warping of boards. Vehement movements of the board brought forward a threat of damages to painting. Problems involved in the consecutive restoration carried out in 1964 consisted in need to balance the backing which the task, after several investigations and tests, has been completed through its saturation with wax filler applied throughout the whole board thickness. It can be stated now that the method applied has proved reliable as during the five-year period after restoration no movements of board have been observed.

4

Skrzydła tryptyku gotyckiego z Jurkowa

100%

Niedzielska M.

Ochrona Zabytków

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1959

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issue 1

49-71

5

Konserwacja rzeźby "Król Kazimierz Wielki" z Muzeum UJ

100%

Niedzielska M.

Ochrona Zabytków

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1992

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issue 3

225-231

EN

The wooden sculpture entitlend „King Casimir the Great” , ca. 1380, which comes from the Collegiate in Wiślica, is at present the property of the Museum of the Jagiellonian University in Cracow. This is a complete sculpture, executed in limewood, with polychromy, and covered with silver and gold paint. The prime conservation problem is the consolidation of the wood damaged by insects and the adhesion of impaired polychromy on almost the entire surface of the object. The impregnation of the wood was conducted with a 20 per cent solution of Paraloid B-72 in xylene, in a vaccum chamber under pressure. The loose polychromy was glued on with ethylene polyglicol PGE 2000, polyalcohol of vinyl water, used in the following proportions: PGE 2000 - 40 per cent, PAW - 4,8 per cent, water - 55,2 per cent. The sculpture was cleaned, the paint was retouch and the badly executed linning of the coat was removed. All the missing ground of the paint layer was implemented, and the lining of the coat was reconstructed. (translated by A. Rodzińska-Chojnowska)

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5 Niedzielska M.

Odkrycie obrazu Ecce Homo z XVII wieku

Konserwacja mozaiki bizantyjskiej Madonny z klasztoru Klarysek w Krakowie

Badania technologiczne i konserwacja podobrazia drewnianego epitafium Wierzbięty z Branic

Skrzydła tryptyku gotyckiego z Jurkowa

Konserwacja rzeźby "Król Kazimierz Wielki" z Muzeum UJ