Search results

1

Żmudna droga do prawdy. Uwagi na marginesie studiów Marcina Fabiańskiego nad renesansowym zamkiem na Wawelu

100%

Mossakowski S.

Biuletyn Historii Sztuki

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2019

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vol. 81

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issue 1

117-132

2

Czy „Portret młodzieńca” w zbiorach wawelskich jest obrazem Jana Lievensa?

94%

Winiewicz-Wolska J.

Opuscula Musealia

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2011

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vol. 19

37-48

XX

In 1910, Cracow art historian Professor Jerzy Mycielski bought Portrait of a young man, believing it to be a work by Dutch painter Jan Lievens, at an auction in Amsterdam. After Mycielski’s death in 1929, following his last will, the portrait along with his entire collection was bequeathed to the Wawel Royal Castle. In an article published in 1917 Hans Schneider saw the likeness of the painting to Rafael’s Portrait of a young man, which was then in the Duke Czartoryski collection. Attribution of the work to Lievens, who until recently was believed to be a student of Rembrandt, has never been questioned previously, although some researchers saw certain similarities between the painting and works by Juriaen Ovens or Govaert Flinck. The painting represents an “international” style of portrait, formed under the Flemish influence, in particular of Anton van Dyck’s portraits. Thus it should be assumed that the work of van Dyck was an important inspiration and point of reference for the artist who painted the portrait, who might have seen Rafael’s Portrait – the original, its copy or a graphic version. All the more so as van Dyck himself was familiar with Rafael’s work – he saw it during his journey to Italy in 1623 and made a copy in the form of drawing in his sketchbook. Other than a close a likeness to Rafael’s original and van Dyck’s works, the stylistic analysis of the Wawel Portrait does not enable pinpointing who painted it. Examination using technological means appears to be necessary, considering the fact that Lievens’ paintings were rather carefully examined in view of the recent monographic exhibition at the National Gallery in Washington and the Rembrandthuis in Amsterdam. The fact that the Wawel painting was included in Lievens’ works displayed at that exhibition seems to suggest that the ideas of those researchers who saw it as a work by Flinck or Ovens should be revisited. Flinck’s portraits based on Flemish models are only of marginal importance and they certainly do have some common features. They do not show any traces of fascination with van Dyck’s painting; neither are there any cues to suggest that he knew Rafael’s Portrait. On the other hand, Juriaen Ovens, who probably visited Italy, could have seen Rafael’s work. He might have come across a copy of it as a collector or as an antiquarian – since he not only had a large collection of paintings but also traded in antiquities. His fascination with van Dyck’s painting and the fact that he was familiar with his oeuvre is confirmed by his numerous sketches of paintings by the Flemish master. The analysis of some details of the Wawel portrait – folds of the young man’s outfit or landscape in the background – also seem to support the assumption that it is his work.

3

Źródła do dziejów Wawelu

94%

Franaszek A.

Folia Historica Cracoviensia

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1998

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vol. 4

EN

The article discusses selected sources of the history of the Wawel castle, including the Metropolitan Chapter archives.

PL

Artykuł omawia niektóre źródła do dziejów Wawelu m.in. z archiwum Kapituły Metropolitalnej.

4

Niezrealizowana fundacja biskupa Konstantego Felicjana Szaniawskiego

84%

Czyżewski K.

Folia Historica Cracoviensia

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2004

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vol. 10

EN

The article presents bishop Konstanty Felicjan Szaniawski's failed attempts to fund the Wawel Cathedral.

PL

Artykuł przedstawia niezrealizowaną fundację biskupa Konstantego Felicjana Szaniawskiego, dotyczącą katedry wawelskiej.

5

Rola Kościoła polskiego w odzyskaniu skarbów wawelskich

83%

Szymański A.

Opolskie Studia Administracyjno-Prawne

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2011

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vol. IX

221-234

EN

The paper discusses the backstage of the negotiations concerning the return to Poland of the priceless collection of the so-called the Wawel treasure, which had survived the wartime storm being deposited in Canada. The negotiations were, in its major part, carried out by the Polish Church. The authorities of the Polish People’s Republic, beginning with 1945, constantly pressed the Canadian government and demanded that the deposit should be returned. On the other hand, the guardians of the treasure were of the opinion that it would not be safe in Poland – at that time remaining a satellite state to the Soviet Union, and „Russians once again can behave like in 1795, when they took away the tapestries and other objects of value from the Wawel”. In the end, the valuable deposit (136 tapestries and other museum exhibits packed into 24 boxes) returned to Poland on 16 January 1961. That would not have been possible had it not been for intensive negotiations lasting a few years prior to that, which were conducted by the Primate of Poland, Cardinal Stefan Wyszyński. With the authority of the Church, the Cardinal supported the efforts to have the treasure returned to the nation who was its righteous owner. The second part of the publication presents some information relating to the subject matter in question, which was found in the Western media.

6

Wawelska rocznica

83%

Stępień P.

Ochrona Zabytków

|

1996

|

issue 1

71-73

7

Agendy katedry wawelskiej

82%

Fedorowicz S.

Archiwa, Biblioteki i Muzea Kościelne

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2008

|

vol. 90

31-39

DE

Im Domarchiv in Krakau befi nden sich zwei mittelalterliche liturgische Agenden, die zum Zelebrieren einiger Sakramente und anderer Riten bestimmte Formeln und Rubriken enthalten. Die präsentierten Codizes sind einander sehr ähnlich. Im Prinzip haben sie den gleichen Inhalt und dieselbe Gliederung, trotz der nicht selten angewandten unterschiedlichen liturgischen Formeln und des etwas anders präsentierten Verlaufs der einzelnen Riten. Da sie für dieselben liturgischen Zeremonien bestimmt waren, kann man von ihnen nicht sagen, dass sie einander in gewisser Hinsicht ergänzen würden. Die in ihrem Inhalt auftretenden Unterschiede müssen eher durch bereits angenommene geringe Änderungen bei der Ausübung der geschilderten Riten oder durch eine gewisse Willkür auf diesem Gebiet erklärt werden. Dies war durchaus möglich, obwohl beide Bücher für dieselbe kirchliche Einrichtung in Krakau und damit auch ungefähr zur gleichen Zeit entstanden sind, d.h. im 15. Jahrhundert. Der Codex KP 25 enthält mehr Segnungen, aus denen sein zweiter Teil besteht, und unterscheidet sich nur dadurch vom älteren Codex KP 24. Beide haben gleichermaßen nur einen geringen Umfang, unterscheiden sich aber in graphischer Hinsicht prinzipiell voneinander, und zwar sowohl was die Schriftart als auch die Verzierungen betrifft. Diese Manuskripte stellen eine wertvolle Informationsquelle zur Liturgie der Krakauer Kirche in jener Zeit dar.

8

Średniowieczne lekcjonarze w zbiorach wawelskich

72%

Fedorowicz S.

Archiwa, Biblioteki i Muzea Kościelne

|

2008

|

vol. 89

195-224

DE

In den Beständen des Archivs und der Bibliothek des Krakauer Domkapitels werden drei mittelalterliche Lektionare aufbewahrt, die die lateinischen Texte der Lesungen enthielten, die zur Rezitation oder zum Singen während der Messliturgie vorgesehen waren. Und obwohl sie einander im Inhalt naturgemäß sehr ähneln, unterscheiden sie sich dennoch durch individuelle Züge, die in Bezug auf die schließlich unverwechselbaren Handschriftencodizes verständlich sind. Die Charakteristik und die Verschiedenheiten aller drei Bücher stellen wir getrennt vor, während ihr sachlicher Inhalt in einer allgemeinen Zusammenstellung abgehandelt wird. Die Manuskripte entstanden durch Benutzung eines bestimmten Schreibmaterials, man bediente sich der damaligen Buchbindetechnik, befolgte die geltenden redaktionellen und handwerklichen Prinzipien und führte künstlerische Elemente hinzu. Alle hier genannten Stufen der Codexherstellung zeigen – nach einer detaillierten Analyse – trotz des sachlich gleichen Inhalts die Unverwechselbarkeit jedes einzelnen Exemplars, seine Spezifik und Originalität. Jedes der hier besprochenen Lektionare entstand zu einem völlig anderen Zeitpunkt: eines im 12. Jahrhundert, das zweite im 14. Jahrhundert und das dritte im Jahre 1500. Aber wahrscheinlich wurden alle drei am selben Ort hergestellt, und zwar in Krakau. Darauf verweisen zahlreiche kleinere Ähnlichkeiten redaktioneller Natur, auch wenn dies selbstverständlich keinen vollständigen Beweis darstellt. Beim Betrachten dieser Bücher kann man sich des Eindrucks nicht erwehren, dass die jeweiligen Schreiber die schon früher von ihren Vorgängern angefertigten Werke zur Hand hatten. Manchmal verübten sie dieselben Fehler, notierten in den Rubriken dieselben Bemerkungen in Bezug auf dieselben Texte oder dieselben liturgischen Tage. Vieles besagen auch die Zusammenstellungen der Lesungen, die sich – in den erhaltenen Teilen jedenfalls – fast völlig decken, was gewiss nicht denkbar gewesen wäre, wenn diese Handschriften völlig woanders entstanden wären. Ihre gegenseitige Abhängigkeit scheint außer Zweifel zu stehen, auch wenn sie charakteristische Besonderheiten besitzen, die jeweils von der Epoche geprägt sind, in der sie hergestellt wurden.

9

Przyczynek do datowania nagrobka Władysława Jagiełły w katedrze Wawelskiej

71%

Włodarek A.

Biuletyn Historii Sztuki

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2012

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vol. 74

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issue 3-4

473-481

EN

The text of the colophon in a codex from the Prague Library of the Metropolitan Chapter (AN M. 103) seems to constitute a meaningful source for dating the tomb of King Vladislaus Jagiełło at the Wawel Cathedral. The copyist of the manuscript and the colophon author Matthias Bohemus of Tyn (near Prague) is not an anonymous individual. Starting from at least the autumn of 1492, he was staying in Cracow and entered his name in the Cracow University Register. In the latter part of June (22 yet before 29) 1430, he completed copying a work of John of Erfurt, having worked at the Lectorium Theologorum in the Collegium Maius building in St. Anna Street, in its architectural shape of the time. In the colophon text, Matthias Bohemus mentioned the tomb of King Vladislaus Jagiełło. It is the first and earliest source confirming the fact that the royal tomb did exist. The text unequivocally testifies to the fact that the copyist was working at the location where the King’s sarcophagus had been deposited, possibly in pieces. It cannot be ruled out that the colophon mention was of mnemotechnical character and commemorates the fact of placing the tomb at Collegium Maius or importing it to Cracow. The piece of information contained in the colophon seems to end the debate on the dating of the royal tomb after the King’s death and unequivocally points to its founder. As the tomb was created during the King’s lifetime, Vladislaus Jagiełło himself must have been its founder.

10

Wieża zygmuntowska katedry wawelskiej i jej restauracja pod koniec XIX w.

71%

Górska H.

Ochrona Zabytków

|

1988

|

issue 1

14-21

EN

In 1895—1904 Sławomir Odrzydolski, architect, carried out a thorough restoration of the Chapel in the Wawel Castle in Cracow. In the history of Polish conservation art this restoration represents a very fine achievement. One of the first stages of this years-long work was the restoration of a cathedral belfry, referred to as the Sigismund tower, erected in the early 15th century. In 1986 the restoration of the Sigismund tower was initiated from the north side. The enscarpment supporting the belfry in the north-west and west part was pulled down (a year earlier the north-east corner of the enscarpment was demolished) and the foundation was laid there. A new enscarpment was put up in the place of the old one with a stone lining. When breaking off the plaster it was found out that the wall was well preserved. Still, it appeared necessary to exchange the outside lining of the tower, both stone and brick one. The work carried out in 1897 concentrated on laying the foundations in the south side of the belfry, restoration of upper parts of the walls and reconstruction of an original shape of windows. Brick walls were unplastered (just as they were originally). Late-Gothic crownings of windows were reconstructed and window orifices in the highest floor got enlarged. Neo-Gothic traceries and balustrades were designed by S. Odrzywolski. During that work a vaulted passway was uncovered; in the past it used to lead from the tower to defensive walls. Next years were devoted to the coping of the tower. S. Odrzywolski proposed a few drawing versions. The coping adopted and executed then is shown in photo no 6. A new cupola of the tower was a subject of fervent discussion, with voices of criticism prevailing. The controversy arose with regard to eclectic details different than those found in the Polish tradition. The discussion revealed artistic attitudes typical of the turn of the 19th and 20th centuries, and ranged from learnedness to innovative attempts to include modern forms into a historic structure of the tower. Summing up restoriation work done on the Sigismund tower in the Wawel chapel, headed by Sławomir Odrzywolski, architect, it may be said that the construction of the tower has been strengthened up considerably, while a controversial coping got eventually assimilated into the Wawel landscape and ceased to give rise to astonishment.

11

Nowoczesne techniki analityczne źródłem informacji o dokumencie przeszłości na przykładzie analizy metalowych nici z piętnasto- i szesnastowiecznych aksamitów ze zbiorów skarbca katedralnego na Wawelu

71%

Krupa N.

Folia Historica Cracoviensia

|

2008

|

vol. 14

EN

The article discusses the modern analytical techniques as a source of information on past documents as in the example of an analysis of metal threads from 15th and 16th century velvet from the collection of the Wawel Cathedral treasury

PL

Artykuł omawia analizy metalowych nici z piętnasto i szesnastowiecznych aksamitów ze zbiorów skarbca katedralnego na Wawelu.

12

Konserwacja kurdybanów w krakowskim warsztacie Wacława Szymborskiego

71%

Rosa H., Bogacz-Walska M.

Ochrona Zabytków

|

1996

|

issue 2

187-193

EN

Wacław Szymborski (1 8 9 8 -1 9 6 8 ) was born in Częstochowa but his whole life was connected with Cracow where he graduated from the Academy of Fine Arts and, already during his studies, began working as a conservator. His greatest accomplishment was the conservation and execution of copies o f the cordwains purchased in Moritzburg for the Wawel Royal Castle. For the purposes o f this task, in which he was involved from 1928 to 1948, Szymborski was compelled to become acquainted with the technique o f the cordwain. He organised a special workshop on Wawel Hill with up to twenty helpers. He also designed and personally made the necessary tools (models and decorations o f the leather). In 1938 and 1939 Szymborski was awarded prizes at international exhibitions held in N ew York and Saloniki. He was also a conservator o f paintings, including the Racławice Panorama (1 9 5 0 -1 9 5 6 ). His other achievements are leather cordwain covering o f his own design for the Madonna chapel in Jasna Gora and a baldachim for the presbitery o f the Warsaw cathedral. The postwar situation in Poland was unfavourable for Szymborski, whose years were connected with dire financial difficulties. From the perspective o f over a quarter o f a century from his death it appears that Szymborski was insufficiently appreciated. Despite the enormity o f his work, the number o f publications and documents about him remains very modest.

13

Badania archeologiczne na Wawelu w r. 1950

60%

Żaki A.

Ochrona Zabytków

|

1951

|

issue 1-2

32-38

14

Przebieg konserwacji portalu Berrecciego na Wawelu

60%

Majewski M., Marzec M.

Ochrona Zabytków

|

1989

|

issue 1

47-52

EN

The portal by Berrecci at the Wawel Castle is one of the finest examples of Renaissance architectural sculptures in Cracow. It dates back to 1534—1535. The present form of the portal comes from the reconstruction period in 1786. Only top part of the object, made from Pińczow limestone, belongs to Renaissance. The remaining parts, forged in sandstone, are not original and their sculptural ornamentation is much poorer. Originally, the whole of the portal was polychromed and partially gilded. A number of conservation and laboratory studies as well as bibliographical and archival searches were made prior to conservation, which allowed to draw assumptions and conservation guidelines and to choose techniques and materials. The basic task of conservation procedure was to eliminate causes of the damage and to consolidate the old substance of the object. This aim was served by prophylactic and technical conservation procedure. To reconstruct the missing parts the best materials applied today in the conservation of stone sculptures were used. Bayplan, a specialized research centre, typed out organic silicon compounds such as Steinfestiger OH — to reinforce the stone and Steinfestiger H - for structural hydrofabization. Apart from qualitative and quantitative analyses of salinity carried out by Bayplan laboratory, samples from other places of the object were also examined in Analytical and Chemical Laboratory of the Academy of Fine Arts in Cracow. The analysis showed the presence of Na+, K+, Ca+ 2 and Mg+ 2 cations as well as CI“ , S0 4~2, N03— and CO3-2 anions. A percentage salt content ranged from 0.33% to 2 % The obtained results of the studies induced the conservators to desalting. A technique of free migration of salt to expanded environment was employed in practice. In view of a utilitarian function of the portal and its representative character, the aim of artistic measures was to restore to the object its former grandeur. On the basis of sounding studies it was possible to reconstruct a general colouristic concept of the portal and facade from the time of its baroque reconstruction (1786). New make-ups of a sculptural form and polychromy were subordinated to the historic substance of the object. Missing parts of the stone that were of constructional importance were added and elements that decided of an aesthetic appearance of the portal were chosen. The final stage of the conservation was a colouristic arrangement of the object and environment (plaster of the facade, side gates). One of the four designs presented at the meeting of the conservation commission was realized. The designs were based on results of bibliographical, conservational and laboratory studies.

15

Konserwacja kamiennego detalu architektonicznego Zamku na Wawelu : prace w latach 1984-1986

60%

Stępień P.

Ochrona Zabytków

|

1987

|

issue 4

304-312

EN

The article presents conservation work done on a stone architectonic detail in the Castle at the Wawel Hill carried out in 1984-1986 by the team headed by the author and operating within the Management for the Renewal of the Royal Castle at the Wawel Hill (at present a branch office of the PP PKZ). The work was preceded with a detail examination of the laboratory studies made by the Centre for the Studies on the History of Engineering at the Higher Mining School (A.G.H.) in Cracow. The destruction of a stone architectonic detail of the Castle, made from poorly weather-proof sandstone and limestone, is caused mainly by chemical corrosion (sulphur compounds and other gas pollution of the atmosphere) combined with atmospheric humidity. At the same time a high dust fall brings about strong soiling and results in blocking stone pores. The basic conservation treatment includes: removal of the "sheir of layers, consolidation of impaired material and protection against hydrophobization. The work done in the Wawel Castle in the discussed period compromised the preservation of stone elements in the Senatorial Stairs, part of the portals and window framings in the Arcade Courtyard as well as the west elevation of a gate wing. Organic silicone preparations both imported (Steinfestiger OH and Steinfestiger H made by Wacker- -Chemie) and Polish ones (Ahydrosil Z elaborated by the Institute of Industrial Chemistry in Warsaw) were used for the consolidation and hydrophobization. A very poor condition of the preserved parts called for a special treatment consisting, i.a., in preparatory stregthening of the stone prior to cleansing, injections, protection of stratifications with strips of putty, addition of acrylic resin to consolidating preparations (because of stratifications and crackings). Solutions of ammonium, carbonate and alcalic pastes that act mildly but effectively were amongst the products used for cleansing. The missing parts were mostly made up with lime stone putty and only in some exceptional cases with putty made from stone dust based on acrylic resin.

16

Mury miejskie Krakowa

60%

Świszczowski S.

Ochrona Zabytków

|

1955

|

issue 3

161-177

17

Konserwacja reliktów murów Zamku Wawelskiego : prace w latach 1986-1988

60%

Stępień P.

Ochrona Zabytków

|

1989

|

issue 2

153-159

EN

Archaeological and architectural studies conducted within the Wawel Hill uncovered numerous relics of walls from structures that have not survived or from previous phases of existing structures. The material present in these relics is non-porous limestone of the Jurassic period, dolomitic limestone, Carpathian glauconite sandstone, brick and lime-sandstone mortar. The principal problem in conservation and its technique is the destruction of the lime mortar, which loses its resistance and cohesiveness due to the rinsing out of the components, the influence of soluble salts and acid compounds, as well as temperature and humidity changes; at the same time there can be corrosion of the stone and brick. A sudden acceleration of the process of destruction can take place with exposure of the walls. For this.reason conservation work should be carried out in a short time following exposure. Conservation procedures depend on whether the relics are to be exhibited (in this case the aesthetic value and the legibility are important) or covered up anew (in which case the measures taken should prove very durable). It is always important to retain the original value of the object as a document The following requirements have been accepted for the technique of reinforcement of walls: deep penetration, durability, low cost wherever possible. These requirements are met first of all by acrylic resins and their derivatives. In the studies discussed the resins were used in three forms: — the solution of acrylic resin in organic solvents (the Osolan KL preparation), — the aqueous dispersion of vinyl-maleic-acrylic resin (the Osakryl KM preparation), — the aqueous dispersion of styrene-maleic copolymer with acrylic acid and reticulating agents (the Oktamid KSM and Oktamid WD preparations) The author discusses the advantages and limitations of the above-mentioned techniques and the work progress on the following: the relics of the wall of the northern nave of the St. Gereon church at Batory Courtyard, the relics of the northern side of the palace, the relics of the rotunda of the Sandomierska Tower, relics belonging to ,,The Lost Wawel" exhibition, i.e. two pillar foundations in the so-called „Large Kitchen" and relics in the so-called „Small Kitchen", a fragment of an early- Gothic wall with an oculus window on the 1st floor of the gate wing. The preservation of relics that are to be covered with sand anew will also depend on the manner of their being covered up. Basing on Polish and foreign experience, the following principles have been adopted: the filling up of hollows with sand, which facilitates repeated preparation, — the covering of relics with plastic netting, which protects from possible damage during the subsequent excavation, — the covering up with a 2 5 -3 0 cm layer of clay or silt, which protects from water and acts as a desalting „compress", — the filling up of the remaining excavation with permeable material, — the protection of the area's surface from water penetration. The above-mentioned work was carried out in the years 1 9 8 6 1988 by a team headed by the author and acting as part of the State Ateliers for the Conservation of Cultural Property — the Board of the Renovation of the Royal Castle at Wawel.

18

Odbudowa zamków - na Wawelu, w Pieskowej Skale i Baranowie

60%

Majewski A.

Ochrona Zabytków

|

1963

|

issue 2

53-62

19

Kilka uwag na temat datowania, autorstwa i historii obrazu Zaśnięcie Matki Boskiej w zbiorach Muzeum Książąt Czartoryskich w Krakowie

51%

Spodaryk A.

Biuletyn Historii Sztuki

|

2023

|

vol. 85

|

issue 3

47-82

EN

The painting Dormition of the Virgin Mary, acquired from the collegiate church of St. Michael on the Wawel Hill and currently in the Princes Czartoryski Museum in Cracow (inv. no. MNK XII-341), was many times discussed in specialist literature, but the accepted scholarly views on its dating and authorship replicated the findings of 1956. This article constitutes an attempt at a reconsideration of these issues on the basis of written sources, which by now have been more thoroughly studied, the results of conservation research, as well as infrared photographs. The author argues the painting in question was executed ca. 1522 and should be attributed to Michael Lancz von Kitzingen. In addition, the author discusses some issues in the history of the paining and the course of its conservation over the years.

PL

Obraz Zaśnięcie Matki Boskiej, pochodzący z kolegiaty św. Michała na Wawelu, obecnie w Muzeum Książąt Czartoryskich w Krakowie (nr inw. MNK XII-341), był wielokrotnie omawiany w literaturze przedmiotu, ale przyjęte w nauce poglądy na temat jego datowania i autorstwa powielają ustalenia z 1956 r. W artykule podjęto próbę ponownego rozpatrzenia tych kwestii na podstawie lepiej obecnie rozpoznanych źródeł pisanych, wyników badań konserwatorskich oraz fotografii w podczerwieni. Autor dowodzi, że omawiany obraz powstał ok. roku 1522 i jest dziełem Michała Lancza z Kitzingen. Ponadto w tekście omówiono dzieje obrazu i historię jego konserwacji.

20

Konserwacja Wawelu w świetle doktryn konserwatorskich

48%

Stępień P. M.

Ochrona Zabytków

|

2009

|

issue 1

83-100

EN

The article analyses the conservation and restoration conducted from the third quarter of the nineteenth century on Wawel Hill, both within the royal residence complex and the cathedral, from the viewpoint of the then prevailing and present-day conservation doctrines. The first pioneering study of the restoration of the royal castle, prepared by Tomasz Pryliński in 1881-1882, must be highly assessed also as regards the current conservation method. On the other hand, the project of the restoration of the cathedral proposed by Sławomir Odrzywolski in 1886 still contained numerous elements of stylistic purism. In the course of its realisation it was considerably modified by a limitation of the re-Gothicisation, a preservation of the majority of the historical strata and an introduction of modern elements (Art Nouveau). The project of the restoration of the castle presented by Zygmunt Hendel in 1908 became the topic of a discussion in which diverse stands were represented by Max Dvořak, the chief conservator of historical monuments in the Austro-Hungarian monarchy, and Professor Stanislaw Tomkowicz, chairman of the Castle Restoration Committee. Continuing the ideas launched by Alois Riegel, Dvořak was in favour of strictly comprehended conservation, while Tomkowicz defended the idea of scientific restoration. The outcome of the discussion was a compromise favourable for Wawel Hill, entailing a resignation from controversial reconstruction proposals but not from the actual restoration of the royal residence. In 1916-1939 the restoration of the castle was continued by Adolf Szyszko-Bohusz, whose specific approach was based more on artistic creation. Today, his realisations already possess a certain historical value and deserve to be subjected to conservation protection on their own merit. Their essential novelty consisted of arranging two archaeological- -architectural reservations. Out of for four conceptions pertaining to the whole Hill (1917, 1919, 1939, 1946) Szyszko-Bohusz or his successors implemented the best elements. Fortunately for Wawel Hill, they did not realise plans for a Pantheon and an amphitheatre, which cannot be favourably judged from the viewpoint of conservation doctrine. After the Second World War conservators resigned from these plans and under the supervision of Witold Minkiewicz and Alfred Majewski initiated, i.a. work on mediaeval walls in the western and southern part of Wawel Hill. The range of the reconstruction was distinctly limited in comparison with the conceptions expounded by Szyszko-Bohusz, thus expressing the transformations of the conservation doctrine of the period. In 2008 a positive opinion about those realisations was reflected in its entry into a register of historical monuments as a “conservation document”. Modern elements of exposition arrangements introduced into the Treasury, the Armoury and the exhibition “The lost Wawel” are distinct from the authentic substance, a solution that reflects a clear-cut impact of the doctrine recorded in the Charter of Venice. Complex conservation, comprising the next stage of work conducted on Wawel Hill, had been initiated in 1990 by the present-day Director of the Royal Castle on Wawel Hill and Conservator of Historical Monuments on Wawel Hill – Professor Jan Ostrowski. The basic premises of these undertakings are contained in the Statute of the Royal Castle on Wawel Hill, which defines both the function of the Castle complex as a museum- -historical residence and the trend of conservation: “the preservation of the historical substance of monuments belonging to the Castle”. “Conservation” should, however, be comprehended as “conservation- -restoration”, since present-day activities should supplement those of the predecessors and not negate them. Such a continuation of earlier initiatives included the recreation of the surface of the arcade courtyard, the recreation of the historical crowing of Lubranka, the completion of the conservation- -restoration of the Sandomierz bastion, the architectural correction of the elevation of the Royal Kitchens (no. 5), the recreation of the royal gardens and the revalorisation of the complex of Gothic houses, i.e. building no. 7. An essential element in embarking upon conservation decisions is a valorisation of the historical strata, which includes also the results of earlier conservation. The negative opinion about the nineteenth- century introduction of barracks in the royal palace complex is maintained, but Austrian fortifications extant up to this day have been recognised as an element subjected to protection. Redesigning introduced during the Nazi occupation, fortunately not extensive, has also been negatively assessed. The principles applied in reference to the outcome of previous conservation assumed their preservation as historical values unless they collide with the fundamental purpose of the presentation of a historical royal residence, i.e. falsify its image or damage its historical substance. In such cases, corrections are advised, as exemplified by the exit from the castle to the royal gardens and a new arrangement of the reservation in the west wing of the castle.

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