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EN
This text is a translation of the article entitled La d atation p a r la dendrochronologie published in „Bulletin de la Societe des Amis du Pays Lochois” (December 1993). The authors of this study are dendrochronologists working in the Archeolabs laboratory in Saint Bonner de Chavagne in France, one of the most important centers of this type in Western Europe. At a meeting held in Rouen during a colloquium concerning the protection of wood, they gave their permission for the translation and distribution of the text which popularizes problems of dendrochronology. Owing to the rather scarce number of Polish publications dealing with this topic, I have taken the liberty of proposing a Polish-language version of certain specialist expressions used in the original text in a way which, in my opinion, best grasps their meaning. The article ends with a list of 35 examples of datings performed in France which has been ommitted in translation. The full version of the French text is available for all interested parties in the offices of the Foundation for the Protection of Historical Monuments (00-867 Warsaw, 31 Chłodna Street). I sincerely hope that this study will inaugurate in „Ochrona Zabytkow” a discussion among specialists concerned with the application of dendrochronology in our country.
EN
The dendrochronological method is the most precise way of delimiting the age of wood in historical objects. One of its applications are architecture studies. The article presents possible uses dendrochronology in this field, methods of collections samples from wooden constructions, as well as the general assumption of annual rings analysis and wood dating. The article discusses the results of the dendrochronological analysis applied to two buildings in Eastern Pomerania: the arcaded house in Gdańsk-Lipce and St Peter and Paul's church in Puck. The skeleton construction of the oldest of arcaded houses in Żuławy was dated to 1572. The age of oak tree pillars in the tower of the church in Puck was estimated at 1409. Further results of the dendrochronological analysis applied to Pomerania architecture will soon be presented.
EN
The CT-X tomography technique makes it possible to depict the inner construction o f spatial objects with a precision that permits the execution o f geometric measurements and a quantitative determination o f the density pattern. Owing to the fact that this is a non-destructive technique, it can be applied for examining unique objects such as works o f art. The author worked on a sixteenth-century polychromy linden sculpture and obtained information about: — the technological construction and damage o f the object, — the structure o f the w ood and the state of its preservation, — the effectiveness of the vacuum impregnation of old wood, — the effects o f other conservation operations. An examination o f samples o f several types o f wood enabled the author to establish the scale o f tomographic densities. He also attempted to define the possibility of employing CT-X tomography for dendrochronological measurements. The outcome o f the investigation proved to be extremely valuable for determining the state o f the preservation o f the wooden object, the selection o f a conservation programme and subsequent work. This method allows us to observe the dynamics and effects o f conservation operations. On the other hand, the achievement of valuable results in dendrochronological measurements depended predominantly on the parameters o f the samples. In the case of narrow-ring samples it balanced on the borderline o f the abilities o f the used apparatus (a PICKER SYNERVIEW S.E. medical tomograph from 1988). The basic problem, however, proved to be the lack of opportunities for a direct transference of the results to a generally accessible computer system. This fact adversely affected the precision o f the results and made impossible their complete presentation.
PL
Celem niniejszego artykułu jest przybliżenie okoliczności odkrycia łodzi jednopiennej wydobytej z rzeki Bug w pobliżu wsi Stary Bubel oraz prezentacja wyników badań i działań konserwatorskich, którym ją poddano. W swym opracowaniu autorzy zwracają szczególną uwagę na konieczność właściwego zabezpieczania drewnianych zabytków archeologicznych, wydobywanych z mokrego środowiska zalegania. Jego brak lub popełnione w tym zakresie błędy prowadzą do nieodwracalnych zmian struktury zabytkowych obiektów. Ich ilustracją są opisane w tekście artykułu uszkodzenia łodzi, będące wynikiem „sezonowania” zdegradowanego drewna w budynku gospodarczym. Co więcej, wysuszenie obiektu uniemożliwia lub zmniejsza skuteczność jego stabilizacji wymiarowej, która stanowi podstawę konserwacji mokrego drewna archeologicznego.
EN
The aim of this article is to provide information on the circumstances of discovery of a log boat and its retrieval from the Bug River near the village of Stary Bubel and to present research results and undertaken conservation measures. In their article, the authors emphasize that wooden archaeological artefacts recovered from a wet environment where they lay must be secured in a proper way. Objects of historical value which are not secured or are secured incorrectly are easily affected by irreversible structural changes. Illustration of alterations described in the article are damages of the boat, which has been resulted from being “seasoned” in a farm building. Moreover, after becoming dry, an object can no longer be stabilized dimensionally or its stabilization is not effective. In the case of waterlogged archaeological wood, dimensional stabilization is the most important part of the conservation process.
EN
Against the background of the surviving paintings dating from the period under the rule of the Teutonic Order, the Virgin and Child from the church of St James in Toruń (now the Diocesan Museum in Toruń, inv. no. MDT-M-007) must be seen as a unique example of a Gothic panel painting, referring to the Bohemian Beautiful Style circa 1400. In specialist literature, it is dated to between 1430 and 1440 and is considered to be a compilatory work by a master settled in Prussia, who combined elements of Bohemian painting with artistic influences derived from the Netherlands (e.g. Rogier van der Weyden) or from Cologne. On the basis of recent  comparative research supported by analyses based on non-invasive methods (NIR, UV, XRF, dendrochronology based on macrophotography of annual growth rings), the painting must be recognised as produced in Toruń about 1410 (the felling of the tree dated to 1404, preparation of the support: at least +2 years). It bears clear features of Bohemian painting in its composition, style, technique of execution and overall impact, but it also shows a significant individual trait (in the details of iconography and costume, the depiction of figures, and technological details). It constitutes a document of the artistic activity in Toruń ca. 1400 and the religious needs of the local circles; it is also an important element in the history of the reception of the imagines de Praga in Central Europe.
PL
Na tle zachowanych dzieł malarstwa z okresu krzyżackiego Madonna z Dzieciątkiem z kościoła św. Jakuba w Toruniu (ob. Muzeum Diecezjalne w Toruniu, nr inw. MD T-M- 007) jawi się jako unikatowy przykład gotyckiego obrazu tablicowego wysokiej klasy, nawiązującego do czeskiego stylu pięknego ok. 1400. W literaturze jest datowana na lata 1430–1440 i uważana za kompilatorskie dzieło mistrza osiadłego w Prusach, łączącego elementy malarstwa czeskiego z wpływami sztuki niderlandzkiej (Rogiera van der Weydena) lub kolońskiej. W świetle prowadzonych ostatnio badań porównawczych, wspomaganych technikami nieniszczącymi (NIR, UV, XRF oraz dendrochronologia z wykorzystaniem makrofotografii przyrostów rocznych), obraz ten należy uznać za dzieło wykonane w Toruniu nie później niż ok. 1410 r. (datowanie ścinki drewna: 1404, wykonanie podobrazia +2). Nosi on wyraźne cechy malarstwa czeskiego w kompozycji, stylu i technice wykonania oraz ogólnym oddziaływaniu, ale też wykazuje istotny rys indywidualizmu (w detalach ikonografii i kostiumu, ujęciu postaci, szczegółach technologicznych). Jest dokumentem działalności artystycznej w Toruniu ok. 1400 r. oraz religijnych potrzeb lokalnego środowiska, a także ważnym ogniwem w dziejach recepcji imagines de Praga w Europie Środkowej.
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