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MUZEUM-ZAMEK W ŁAŃCUCIE PRZEGLĄD WAŻNIEJSZYCH PRAC KONSERWATORSKICH

100%

Brzozowska-Drozdowicz U.

Ochrona Zabytków

2005

issue 3

5-18

Łańcut Castle is one of the most beautiful and best preserved aristocratic residences in Poland. Surrounded by an old and picturesque landscape park, it creates, together with the pavilions and outbuildings, an exceptional historical complex of particular significance for Polish culture. The castle was built in about 1631 according to a project by the Italian-born architect Matteo Trapoli. Subsequent redesigning projects involved, i. a. Krzysztof Mieroszewski, who specialised in fortifications and defensive works, and later also Tylman of Gameren. The 1780s brought further essential redesign ventures which produced interiors featuring the then fashionable Oriental – Turkish and Chinese – motifs. The present-day layout and decor of many of the rooms reflect those schemes. Such acclaimed and talented eighteenth-century architects as Vincento Brenna, Szymon Bogumił Zug, Jan Chrystian Kamsetzer, and Chrystian Piotr Aigner worked in Łańcut, where their projects were employed for erecting , i. a. the Theatre, the Glorietta, the Orangery and the Romantic Castle. The owners of Łańcut Castle systematically modernised their residence, attaching considerable attention to ensuring comfortable and outright luxurious living conditions. At the turn of the nineteenth century their undertakings rendered this sophisticated object one of the most modern family seats in Europe. The modernisation of the castle was accompanied by plans concerning the park which was doubled; new gardens: Italian and Rose, were added. A sprawling landscape park was laid out beyond the moat. The Stable and the Carriage House were built to the south of the park. In 1925 the object was added to the state list of historical monuments. The necessary repairs conducted during the postwar period included replacing the vaults and the roof over the whole castle building, the Orangery, the Carriage House, the Menage and the Romantic Castle. The castle interiors were also conserved. The Atelier for the Collection Conservation, established in 1960, has been busy up to this day and is responsible for preventive conservation as well as more extensive realisations relating to the castle. Conservation was conducted in almost all the castle interiors, with each passing year bringing numerous initiatives. The Voivodeship Storehouse of Movable Historical Monuments was opened at the museum in 1961 for the purpose of protecting the outfitting of Eastern rite churches abandoned after 1947, a total of 7 500 historical exhibits. In time, the storehouse was transformed into a Department of Orthodox Church Art, at present the largest contemporary collection of its sort in Poland. The museum objects include the Łańcut synagogue, one of the most magnificent in the country. Built in 1761, it was a typical example of the Oriental variant. Brick and situated on the plan of a square with an architectural bima in the middle, the synagogue displays exceptionally lavish decoration, the oldest going back to the eighteenth century. After conservation, the object was opened to the public. The natural charm of the Łańcut historical complex is accentuated by its park and gardens, recreated as faithfully as possible upon the basis of preserved documents and prewar photographs. Postwar conservation of the Museum-Castle in Łańcut has involved numerous specialists representing assorted domains of science, conservators of works of art, art historians, and members of the technical staff who have contributed to highly effective achievements and discoveries. A total of thirty horsedrawn vehicles, including coupé, landauer, mylord, break, victoria and jagdwagen carriages, sleighs and chaises, many featuring unique historical merits, has been conserved. Work on the only marble statue in Poland by Antonio Canova – a likeness of the young Henryk Lubomirski – was conducted by applying a noninvasive cleaning method using laser beams. The conservation of eighteenth-century interiors was based on the chinolin technique originally used for creating them. For many years the museum conservators and renovators have carried out a task decisive for the survival of a plethora of works of art – paintings, sculptures, icons, old books or artifacts. The outcome of their cooperation has assumed the form of the present-day state of the historical palacepark complex, enabling Łańcut to become not only an extremely valuable research centre and the site of numerous important cultural and scientific events, but predominantly a tourist attraction on a truly worldwide scale.

Technika malarska "szypolen" (chipolin) i jej identyfikacja w zabytkowych obiektach

80%

Brochwicz Z.

Ochrona Zabytków

1963

issue 1

21-27

C’es l ’ouvrage de Watin ’’L’art du Peintre Doreur Vernisseur”, publié à Paris en 1753 qui est le point de départ pour l ’examen de la technique picturale dite ’’chipolin”, appliquée au XVIIIe siècle dans les éléments de decors en bois et dans les meubles. D’après Wattin cette technique comprenait les activités suivantes: recollage de l ’objet, encaustiquage, polissage, peinture, recollage et enfin vernissage. Pour le recollage on appliquait la mixture préparée de déoocté condensé d’ail et d’absinthe avec la colle de parchemin, du sel e t du vinaigre. La présence de l ’e s sence d ’ail avait à part les qualités collantes, les qualités de conservation et elle augmentait l ’adhesion d ’autres solutions. D ’après les ouvrages des auteurs antérieurs il faut croire que premièrement la technique ’’chipolin” désignait une action déterminée, c ’est à dire le premier recollage avec du jus d’ail. Ce sont les stalles de l ’église de Lubiń qui était l ’objet des recherches de l ’auteur. L’examen microchimique des coupes des couches de peinture a démontré la présence unique du blanc de plomb dans la couche de peinture, dans la préparation par contre, le présence du blanc de plomb avec un mélange de craie. Dans la masse de la préparation imprégnée .de mélange colorant on a distingué 4 couches très prononcées. Dans la coupe traitée de solution de carmin-indigo le dégré d’absorbtion du colorant a permis de distinguer des couches de structure huileuse de structures poreuses. Les examens suivants avec le sulfurique de cuivre et la lessive de sodium ont distingué des couches contenant de l ’albumine (colles animales). La rodamine В a démontré sur la coupe la présence de recollage isolant sous la couche de vernis. L’auteur constate que les simples actions de recherche e t le microscope suffisent à découvrir la technique ’’chipo lin” et qu’il n ’y a pas besoin de mener des examens détaillés compliqués, comme p. ex. l ’analyse chromatographique.

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2 Ochrona Zabytków

1 Brochwicz Z.

1 Brzozowska-Drozdowicz U.

1 2005

1 1963

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MUZEUM-ZAMEK W ŁAŃCUCIE PRZEGLĄD WAŻNIEJSZYCH PRAC KONSERWATORSKICH

Technika malarska "szypolen" (chipolin) i jej identyfikacja w zabytkowych obiektach