Search results - CEJSH

1

Zygmunt Gawlik - architekt, artysta, konserwator

100%

Zawadzki J.

Ochrona Zabytków

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1994

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issue 1

49-54

EN

Zygmunt Gawlik (1895-1961) graduated from the Academy of Fine Arts in Cracow where he studied in the department of architecture, sculpture (with X. Dunikowski) and painting (with F. Pautsch). He specialized in designing churches and upon the threshold of his professional career he won a competition for the project of a cathedral in Katowice (1925). Alongside the erection of new buildings Zygmunt Gawlik also pursued the adaptation and expansion of existing churches and monasteries (in the southern dioceses of Poland). Co-operating with the Office of the Conservator of Historical Monuments in Cracow, Zygmunt Gawlik initially made numerous inventory measurements of wooden and brick village churches. With time, he supervised the conservation of select monuments, and conducted their thorough examination. Zygmunt Gawlik devoted much attention in particular to small churches of Romanesque or Early Gothic origin.

2

Zabytki architektury i budownictwa w Poznaniu w latach 1984-1999

100%

Figuła-Czech J.

Ochrona Zabytków

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2000

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issue 4

374-377

3

"Design for scientific conservation of antiquities", R. M. Organ, London 1968 : [recenzja]

100%

Szyszko W.

Ochrona Zabytków

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1969

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issue 4

323-324

4

Konserwacja obrazu "Matka Boska z Dzieciątkiem w Ogrodzie Różanym"

100%

Wyszyńska J.

Ochrona Zabytków

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1992

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issue 3

173-183

EN

The painting entitled „The Holy Virgin with Child in the Rose Garden" which belongs to the Diocesal Museum in Opole, comes from the end of the fifteenth century, and is executed in tempera on canvas glued onto a panel (72 X 47). The painting combines the Low Country semi-figural depiction of the Virgin with Child, intended for private devotion, with the iconographie trend of the „rose garden", favoured by German fiftenth-century art. The scheme of the depiction which originates from the compositions by Roger van der Weyden, reveals a German influence testified by the modelling of the form, caligraphic drawing, concern for details as well as the technological argument - the limewood of the base. The painting was offered in January 1987 to the Chair of Conservation of Easel Paintings and Wooden Polychromy Sculpture of the Department of Conservation of Artworks at the Academy off Fine Arts in Cracow. At the I time, it was in a critical state of preservation. Upon the basis of an examination of the object and the results of physical and chemical research it was possible to determine its history and technological construction. The undertaking involved the removal of the determinal effects of three previous conservations, and the execution of a complete technical and partial aessthetic conservation. After the removal of retouched paint and putty, and the cleaning of the reverse, the whole painting was impregnated, and the missing parts of the wooden panel were supplemented. The indented cracks in the paint layer and the ground were pressed down and glued, the gaps in the ground were replenished and the losses and smudges of the gilting and the paint layer were retouched by means of the pinpoint consolidationmitation method. The work was completed in April 1987. From 25 October of that year the painting is part of a permanent exhibition at the Diocesal Museum in Opole. (translated by A. Rodzińska - Chojnowska)

5

Poznanie-interpretacja-konserwacja dzieła sztuki na przykładzie rzeźby "Matka Boska" ze Staromieścia

100%

Bogdanowska M.

Ochrona Zabytków

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1992

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issue 3

139-143

EN

The article is a fragment of a M.A. disseration written under the guidance of Ireneusz Płuska in the Department of Conservation of Artworks at the Academy of Fine Arts in Cracow. The topic is the conservation of a stone sculpture depicting the Holy Virgin and Child in the church of Staromieście, from the beginning of the fourteenth century. The work conducted on this subject was based on an attempted interpretation of the sculpture, which has no distinct analogies in Polish art. Due to the absence of source and inconographic data, this examination involved an interpretation of the object itself which produced a hypothesis that the sculpture depicts Holy Mary Enthroned, and constitutes a fragment of a large whole - a tympanum or erection stone plate. A comparison with extant works from that period provides an argument for assuming that the tympanum was of an historical or donative nature. An analogous object was discovered among the lapidarium of the Charlieu monastery. Iconographie investigations determined the trend and range of the aesthetic-plastic conservation, the extent and range of reconstruction and the subsequent display of the sculpture. The conservation work resorted to the British version of the traditional limestone method. (translated by A. Rodzińska-Chojnowska)

6

Ochrona zabytków archeologicznych na terenie woj. krakowskiego w latach 1980-1990

100%

Matoga A.

Ochrona Zabytków

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1994

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issue 1

104-112

7

Zagadki kościoła w Makowie Mazowieckim : działania konserwatorskie a odkrywanie historii

100%

Mądrach P. G.

Ochrona Zabytków

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1992

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issue 4

368-376

EN

My conservation adventures connected with Makow Mazowiecki began in summer 1988, when I was employed to renovate Jędrzej Noskowski's Mannerist stone tomb. This object is the most distinguished work of art in the parish church under the invocation of Corpus Christi, built around 1490, rebuilt and redecorated several times. The town and the church have been destroyed several times by wars and fires. It happened also to the tomb. The monument was in a very bad state, all its parts showed mechanical damages. The most affected element was the knight's figure, especially the front of his armour. The left arm, the left hand and both feet were missing. The face was blemished by the lack of the nose. The frieze with floral decoration on the top of the first tier was badly damaged. It seemed that the tomb must have collapsed. In the mid 19th century the tomb was reinstalled and covered with several layers of grey paint. The inscription plaque was also painted and did not show any signs of letters. When three layers of paint were removed, traces of a binder which had penetrated the stone appeared. The traces had been left by letters painted with gold powder. In many places they seemed completely illegible, but after a meticulous analysis of their shapes in various kinds of light most of them were deciphered. The text was reconstructed and translated by Dr Barbara Milewska from the Institute of Classical Philology of Warsaw University. Apart from the restoration of the aesthetic value and the renovation of the stone substance, the conservation resulted in discovering the text of the formerly unknown inscription and reinterpreting coats of arms on the cartouche surmounting the tomb. During my two-year-long work in Makow Mazowiecki I initiated the renovation of the neglected tomb of Ignacy Wielgolawski, a parson of the Makow parish, from the second half of the 19th c. Commissioned by the Society of Makow Mazowiecki Lovers I prepared a project of a monument dedicated to the fallen in the fights for the independence of Poland in the years 1914-1920. The monument was unveiled in June 1989 and marked a new chapter in the history of the town.

8

Józef Edward Dutkiewicz (1903-1968)

100%

Kalinowski L.

Ochrona Zabytków

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1990

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issue 4

189-191

EN

Jozef Edward Dutkiewicz has been distinguished from among art historians and conservators of the generation of the 20th century by the versatility of his theoretical and practical skills and his artistic and scientific interests. He formed his life around the fine arts: as an artist painter and as an art historian, as a conservator of monuments involved in the field of the protection of cultural property and as a conservator of paintings working at the easel and on scaffolding, as organizer of the Department of Conservation of Works of Art at the Academy of Fine Arts in Cracow and as a teacher of the younger generation of art conservators, as co-creator of the Commitee of Theory and History of Art at the Division of the Polish Academy of Sciences in Cracow and as author of publications on historical and contemporary art. He chose his main profession to be that of conservator,serving in 1939 as conservator of monuments successively in Warsaw, Łuck and Lublin. The Lublin years (1936-1939) were particularly fruitful, when he initiated and carried out for the first time the restoration of monuments of the city centre of Lublin, Zamość and Kazimierz on the Vistula. During the war, employed as a painter conservator at the Muzeum in Tarnow, he worked on medieval paintings and sculpture. After the war, he organized the Museum of the Tarnow District from collections of old manors. He also took part in the protection of monuments in Silesia. In 1946- 1951, he was conservator of the monumente of the Cracow voivodeship and the city of Cracow. In 1948 he established and headed the editing of the conservation magazine "Ochrona Zabytkow" (Monument Protection), with the exception of the interval 1951 -1961. From 1949 he gave lectures on the theory of art at the Academy of Fine Arts in Cracow, where he was shortly appointed associate of conservation and where he organized and headed as dean the Department of Conservation of Works of Art, in the newly established Academy of Art (transformed in 1956 into the Academy of Fine Arts). After 1960 he became dean of the School of Conservation of Works of Art at the Department of Painting of the Academy of Fine Arts and this post he held, with the exception of the academic years 1956-1957 and 1960-1961, until his tragic death in 1968. From 1951 he headed the Institute of Conservation of Wall Paintings, and in the years 1962-1965 he was also head of the Institute of Conservation of Easel Paintings and Polychrome Wood Sculpture. He manifested his scientific approach to matters of conservation of works of art in the establishment and expansion of the servicing chemical and physical workshop and by drawing into cooperation representatives of the Cracow Technical University and the Academy of Mining and Metallurgy. He changed work as conservator for team work subordinated to the requirements of scientific cognition and calling for laboratories of the highest technical level. In all his activities Dutkiewicz was an authority. His sudden departure has been felt as a painful loss among conservationists and art historians. His vision, looking into the future, has remained a basic canon of conservation conduct, in spite of the changing aesthetic assumptions.

9

PROBLEMATYKA TECHNOLOGICZNA I KONSERWATORSKA DZIEŁ MALARSKICH XAWEREGO DUNIKOWSKIEGO

100%

Rouba B. J., Arszyńska J., Doleżyńska E., Szelwach R.

Ochrona Zabytków

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2005

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issue 4

47-60

EN

The reason for studying the paintings by Xawery Dunikowski was the conservation and restoration of six canvases from the large set of works by this artist, conducted by the Institute for the Conservation of Paintings and Polychromed Sculpture. The examined compositions included three canvas paintings, one collage, and two paintings on plywood, featured in the Królikarnia Branch of the National Museum in Warsaw. One of the plywood paintings was executed on both sides. Despite numerous conservation undertakings performed in the course of recent years, and encompassing not only the paintings under discussion but also the whole Królikarnia collection, so far no publications has discussed the conservation, technical construction, and execution technology of works by X. Dunikowski. The purpose of the presented operations was to offer basic knowledge which in the future will facilitate all sorts of ventures focused on the conservation, restoration and prophylactic protection of the artist’s oeuvre. The research has made possible a technical and technological analysis and an examination of the state of the preservation and conservation of the works of this prolific artist. At the same time, methods which could serve as a basis for the conservation of his whole oeuvre have been devised. The selection of paintings involved an attempt at creating a set which would present damage typical for all the Dunikowski paintings. The titular conservation and restoration posed a number of problems caused primarily by the artist’s approach to his workshop. The majority of the damage is the result of an incorrect choice of material. Certain sources indicate that Dunikowski relegated all technical issues to the sidelines, and apparently was unconcerned with the durability of his works. At the very outset, therefore, we should ask about the extent to which one should interfere in cases such as this, and the range of the ensuing conservation, as evidenced by the intense discussion about the unusual appearance of the painting entitled Abstract Composition with a Skull. It would be difficult to ascertain unambiguously whether the uneven canvas around the cardboard attached with stiff glue is the effect of the lengthy impact of atmospheric factors. Equally controversial proved to be the purposefulness of gluing and supplementing damaged corners in the Portrait of a Daughter (obverse) and the Portrait of a Girl (reverse). Since the artist painted the portraits on an already damaged base, such an undertaking would not be tantamount to a restoration of the original state, but constitute a creation. Ultimately, it was decided to opt for moderation in restoring the state of the monument according to our vision of its original condition. Certain technical and aesthetic problems are posed by the exposition of this two-sided painting, since the obverse had been executed across the rectangular plywood, and the reverse – longitudinally. The above considered examples of complex problems prove that in this particular case conservation was by no means routine. This experience made it possible to once again heighten our awareness of the fact that the conservation and restoration of modern art remain an open issue, and that questions which only at first glance appear to be of minor importance actually call for individual treatment.

10

Zagadnienia konserwacji, rekonstrukcji oraz adaptacji zespołów zabytkowych

88%

Boyé-Guerquin A.

Ochrona Zabytków

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1994

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issue 3-4

347-358

EN

This is a presentation of the professional accomplishments attained by the author in the course of 46 years of professional work connected with the conservation, reconstruction and adaptation of historical monuments; it discusses three prime domains: historical secular and sacral architecture, historical interiors together with their decorations and outfitting as well as garden premises and small garden architecture. The characteristic feature of the creative activity of Anna Boye-Guerquin in all these realms was the comprehension of designing as a combination of two purposes — the reconstruction of the historical object and its adaptation to new functions.

11

Historia Wydziału Konserwacji warszawskiej Akademii Sztuk Pięknych

88%

Sobucki W.

Ochrona Zabytków

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1997

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issue 3

193-194

EN

The history of the Department of the Conservation and Restoration of Works of Art at the Academy of Fine Arts dates back to the establishment on 4 September 1947 of a Study for the Conservation of Monuments of Painting at the Academy of Fine Arts in Warsaw. The initiator and greatest adherent of this undertaking was Michał Walicki, historian of art and lecturer at the Academy from 1931. The Study was supervised directly by the Rector of the Academy, and contained two Chairs dealing with the Conservation of Painting and Painting Techniques. The head of the latter and the Study as a whole was prof. Edward Kokoszko, and the head of the Chair for the Conservation of Painting was prof. Bohdan Marconi. Both professors had at their disposal extensive knowledge and considerable conservation experience. Already in 1936, prof. Kokoszko acted as the organiser and head of one of the first Polish workshops for painting techniques and conservation, which was set up in the Warsaw-based Municipal School of the Decorative Arts and Painting, while prof. Marconi, prior to his work in the Academy of Fine Arts, directed a Conservation Workshop in the National Museum and a State Workshop for the Conservation of Painting, located in the building of the Zachęta Gallery, and conducted by the Main Management of Museums and the Protection of Historical Monuments, which conserved i.a. the Battle o f Grunwald by Jan Matejko. In 1950, the two higher art schools in Warsaw — the Academy of Fine Arts and the State Higher School of Fine Arts — became merged into an Academy of Plastic Arts (a name retained until 1957). The new academy established nine departments, including the Department of Conservation, the outcome of the expansion of the heretofore Study which now gained new specializations. The Dean of the Department was prof. Edward Kokoszko, and after his resignation in January 1951, the post was entrusted to prof. Bohdan Marconi. The Department of Conservation was composed of five specializations: conservation of painting (prof. Bohdan Marconi), conservation of decorative arts (prof. Jozef Grein), conservation of sculpture (assistant prof. Jan Ślusarczyk), conservation of graphic arts (prof. Bonawentura Lenart) and the conservation of murals (assistant prof. Karol Dąbrowski). Furthermore, the Department held courses and lectures on the history of art, the history and theory of conservation, hand-drawn perspective, technology, physics and chemistry, drawing, painting and sculpture. Unfortunately, in 1952, the development of conservation studies at the Warsaw Academy of Fine Arts was halted for many years. First the department was transformed once again into a Study, and then in 1964 — into a Chair for Conservation within the Department of Painting. This last event coincided with the retirement of prof. Marconi, who exerted an essential impact on the heretofore image of conservation in the Warsaw Academy. The Department of the Conservation of Works of Art was reactivated as late as 1972, and its Dean was docent Juliusz Bursze. The Department embarked upon the creation of new chairs, institutes and workshops as well as work on new curricula. The need to increase the number of staff members proved to be particularly urgent. The attainment of a complete form by the Department was favoured by a move to an historical building in 37 Wybrzeże Kościuszkowskie, regained by the Academy in 1975. The building was originally erected in 1914 for the needs of the School of Fine Arts thanks to funds provided by the Kierbedź family and according to a design by the architect Alfons Gravier. During the inter-war period, it was the seat of the Academy of Fine Arts. The first to be moved to the retrieved building was the conservation of painting and polychromy sculpture, and then the remaining workshops of the Department. The move took place during the term of office of the new Dean, Adam Roman. In the 1976/1977 academic year, the Department of the Conservation of Works of Art included already four chairs and one institute. The Chair for the Conservation of Painting and Polychromy Sculpture was headed by Juliusz Bursze, the Chair for the Conservation of Old Prints and Graphic Art — by Tadeusz Tuszewski, and the Chair for the Conservation of Sculpture and Architectonic-Sculpted Elements — by Adam Roman. The three conservation chairs were accompanied by the Chair for General Art Training headed by Stefan Damski. The whole structure was supplemented by the Institute of Chemistry, Physics and Special Photography, directed by Daniel Tworek. The post of Dean was held successively by Juliusz Bursze, Piotr Rudniewski, Jerzy Nowosielski, Wojciech Kurpik and, at present, Andrzej Koss. In 1981, the further expansion of the Department led to the establishment of a Chair for the Conservation and Techniques and Technology of Murals, and in 1992 — the Chair for the Conservation and Restoration of Historical Fabrics. In 1988, the Department introduced a six year-long course of studies. Up to the end of 1996, conservation studies at the Academy of Fine Arts in Warsaw were completed by 445 students. The Department enjoyed a well-grounded position among other departments of the Academy, and two of its professors had the honour to fulfil the function of Rector: prof. Juliusz Bursze in 1982-1984, and prof. dr. Wojciech Kurpik (at present). The Department of the Conservation and Restoration of Works of Art at the Academy of Fine Arts in Warsaw also occupies a permanent place among similar centres in Poland and abroad.

12

Konserwacja rokokowych relikwiarzy skrzynkowych z kościoła przyklasztornego w Kartuzach

88%

Krupska A.

Ochrona Zabytków

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1997

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issue 3

195-205

EN

The conservation of a series of eight gilt box reliquaries in the cloister church in Kartuzy encompassed ornamental cardboard — exterior and the outfitting of their interiors. These objects constitute an extremely interesting example of the Rococo gilding workshop. All, with a single exception, possess a technical — technological construction based on a similar principle. The exterior is composed of three basic elements: a) a cardboard frame about 0 .5-0.7 cm thick, with gilt polychromy and a rocaille embossed ornament; b) a wooden supporting construction of the frames, closely connected with the face; c) a box for reliquaries. Reliquary no. 8 is a plaster cast of its predecessor (no. 7), whose shape and type of ornament differs from the other examples. The state of the preservation of particular reliquaries differs but due to a similar technical and technological construction, the damage suffered by all was rather similar. The faces of the objects were covered by thick layers of repainting. The wooden construction was weakened, numerous decorative elements were missing, and the wood bore traces o f insects. The almost uniform type of damage made it possible to prepare a complex conservation programme. Team work also contributed to a more effective course of the necessary operations, which involved a disinsection of all the reliquaries, the impregnation of the weaker wooden elements, a supplementation of missing supporting and decorative elements, the removal of repainting ,and retouching the surfaces of the original polychromy. The intention o f all these undertakings was to restore aesthetic values and guarantee the functional character of the objects. Although the above mentioned operations belong to routine work, they required imagination and efficiency on the part of the artisans. The workshop origin of the reliquaries from Kartuzy remains unknown, and its determination would prove to be extremely difficult without special, more extensive studies. Quite possibly, the objects in question constitute a legacy of those popponiers whose activity in the mid-eighteenth century in France was extremely highly assessed and who produced assorted decorative objects from cardboard or papier mache.

13

Różne podejścia do rekonstrukcji

88%

Liszewska W.

Ochrona Zabytków

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1997

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issue 3

283-293

EN

Problems of reconstruction are one of the most composite and difficult issues in the art of conservation, and should be examined individually in the case of each subject. The presented reconstruction solutions were conducted as part of diploma studies written in the Chair for the Conservation and Restoration of Old Prints and Graphic Works. The background of the discussion is composed of reflections inspired by the philosophy of Umberto Eco concerning the idea of the „open work” and the equal rights enjoyed by various interpretation conceptions, from the viewpoint of the conservation and restoration of a work of art. The examined conservation studies are divided into two categories, owing to the character of the reconstruction — those which restore exhibition merits to the art work, and those which additionally aim at restoring its utilitarian function.

14

"Aresztowanie" ołtarza Wita Stwosza : wystawa na Wawelu 1949-1957

88%

Walczy Ł.

Ochrona Zabytków

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1992

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issue 4

283-295

EN

The magnificent world-renown poliptych sculptured in the years 1477-1489 for St Mary's Church in Cracow by Wit Stwosz was dismantled and and transported to Nuremberg by Nazi invaders during World War II. In 1945 it was secured by the American army, and in 1945- 1946 prepared to repatriation transport by Prof. Karol Estreicher, who was delegated by Polish authorities to revindicate the cultural treasures seized during the war. On May 30th, 1946, the transport reached Cracow. When the sculptures of the altar were in the country it turned out that they needed thorough conservation. The State Workshop for Conservation of Paintings, headed by Prof. Marian Słonecki, was charged with this task. The team not only carried out a complete restoration of wood structure (including poisoning wood-eaters and impregnation against their new invasion), but also, in the process of paint layers conservation, removed the repaintings from the 19th, 18th and 17th centuries, discovering Stwosz's original polychromy. This painstaking work was finished in the late summer of 1949. Thanks to warm sunny Indian summer the altar's main framework was reinstalled in the presbytery of St Mary's basilica. The sculptures were to be set out in October, November and December, and the whole retable was to be consecrated at Christmas 1949. Polish communist authorities did not allow this schedule to be realised. They ordered to leave the sculptures in the Conservation Workshop in former Royal Kitchen in Wawel, arranging an exhibition from fragments of the altar. The exhibition, planned as a close of the conservation, was held between June 10th and July 10th 1949 as a part of „The Days of Cracow" and attracted lots of visitors. This last fact, „public demand", was a perfect excuse to continue the exhibition and delay the return of the sculptures to St Mary's church. On the 2nd of October 1950 the exhibition was reopened without any negotiations with Church authorities and without stating the termination time, which actually meant that the altar was „interned" or „arrested" in Wawel. The exact circumstances in which this decision was taken may remain unknown, but its genera motivation can be guessed. The delay in the return of the poliptych to the basilica was probably an indirect repression against the Archbishop of Cracow, Cardinal Adam Sapieha, in the situation when the communist authorities which since 1949 tightened up their policy towards the Church, but refrained from attacking the Cardinal directly due to his age and authority. This indirect repression achieved its aim as the Cardinal did not live to see the altar re-consecrated - he died on the 23rd of July 1951. The archpresbyter of St Mary's church. Rev Dr Ferdynand Machay returned to the problem of the altar in nearly every sermon and interceded for the case with the authorities at various levels, but until the Polish October in 1956 the government decided about Stwosz's masterpiece as if it was their property; for example in 1953 some of the sculptures were sent to Warsow for the exhibition „The Renaissance in Poland". Not earlier than on the 13th of April 1957 was the monument returned to the rightful owner - St Mary's parish. It is worth noting that it was the second act of that kind in the history of the altar - the first one took place 11 years earlier, on the 30th of April 1946. In April 1957 it was possible to resume the work where it was interrupted in 1949. The conservation was completed very quickly. On the 15th August 1957, the day of the Assumption of the Holy Virgin, the Archbishop of Lvov and Cracow, Eugeniusz Baziak, consecrated the altar restoring it to the Holy Service. That was the end of the war exile of Wit Stwosz's masterpiece continued by its eight-year-long „arrest” in Wawel.

15

Działalność koła naukowego na Wydziale Konserwacji i Restauracji Dzieł Sztuki w okresie czerwiec 1995 - marzec 1997

88%

Ochrona Zabytków

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1997

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issue 3

322

16

Problemy praktyki konserwatorskiej w rewaloryzacji zabudowy staromiejskiej na przykładzie Bloku XIX w Zamościu

88%

Rozbicka M.

Ochrona Zabytków

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1984

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issue 1

15-25

EN

The method, scope and practical ways of the ex ecution of complex conservation works covering entire complexes of old buildings provide /the subject-matter of discussions going on amongst conservators for a few years already. Restoration works on the о Id-town diistrdct of Zamość, initiated in the sixties and still continued, are a true illustration of the evolution of conservators’ views and the accompanying socio-economic situation of the state and its housing policy. The article offers a general summary of the conclusions of detailed research work on the analysis of present methods of the realization of restoration tasks, made on the basis of materials illustrating all stages of conservation works carried out between 1971 and 1980 on the so-called block XIX at Zamość. All conservation operations were shown with regard to individual elements of historic structures and problems connected with their functional management and modernization. The method and scope of conservation, research and design works adopted for bleak XIX at Zamość and prepared on the basis of experience gained during the realization of similar tasiks in other towns, were appraised positively. However, a minute study of mutual relations and dependencies between successive links of the process of research, design and implementation works revealed a number of shortcomings in the method of carrying out renewal works. Numerous faults were noticed in the system of working out and implementing conduisions and conservation guide-lines. There could also be seen a lack of a uniform line of conservation procedure possible for putting at into life. The incompleteness of preliminary research work on the structure (both in conservation and technical aspects). not taking into account ail problems of conservation and technology as well as a general character of some of the formulations are the main causes of various contradictions and inconsistencies in conservators’ instructions for designers and executors. The analysis of works on block XIX displayed also shortcomings in the functioning system of conservation supervision. The main stress put by conservators on elements of decor and outside architectural form of the structures resulted in an unsatisfactory care for the preservation of the genuine building structure. Despite a lack of sufficient materials documentating the works, especially at a realization stage, the analysis of conservation operations on block XIX made possible certain observations which, as at is hoped, should contribute to the improvement of a practised way of the execution of reconstauction warlks on old town buildings.

17

Zasady konserwacji : Ewangelia Yorku według Derka Linstruma

88%

Linstrum D.

Ochrona Zabytków

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1990

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issue 3

121-122

EN

The article has been written on basis of the lecture inaugurating classes of the Institute of Advanced Architectural Studies. University of York. The author presents his own views on the conservation of monuments, drawing attention to the necessity of observing the principles of conservation.

18

"Ochrona i Konserwacja Zabytków" : pismo Ośrodka Ochrony i Konserwacji Zabytków

88%

Ogrodzki P.

Ochrona Zabytków

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1997

|

issue 2

182-183

19

O stanie i problemach ochrony i konserwacji zabytków w Mongolii

88%

Erdenebat U.

Ochrona Zabytków

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1990

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issue 2

91-92

EN

In Mongolia the principles of preservation of historical monuments were formulated in 1924. In 1970 an act was passed on the protection of cultural property. In 1973 the Ateliers for Conservation of Cultural Property, with about 300 persons employed, was established in the Ministry of Culture. In the field of historical monument protection, there are many problems in Mongolia that require general solutions. The shortage of highly skilled specialists, deficiencies in the scientific research facilities, in equipment and materials, have all been the cause why many necessary preservation measures have not been taken up to date. There are many historical objects that call for preservation intervention. These are the stone statues found all over the country, as well as wooden structures and structures made of stone, clay, burnt and unburnt brick. The situation could be considerably improved through the aid of conservators from other countries. The protection of historical monuments can be aided through the development of tourism, which has been quite small so far. There are plans for the incorporation of the Orkhon Valley with the old capital of Karakorum into the tourist sphere. The profits coming from tourism could be assigned for the preservation of historical objects. For this purpose, however, the help of qualified conservators of other countries is needed.

20

Matka Boska z Dzieciątkiem z kościoła oo. bernardynów w Warcie

88%

Czernichowska J.

Ochrona Zabytków

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1997

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issue 3

212-216

EN

During the conservation and restoration of the seventeenth- century Madonna and Child, a painting in the Bernardine monastic church in Warka (voivodeship of Sieradz), the removal of a silver covering, which to considerable degree concealed the canvas, proved that the painting is a stylistic compilation of seventeenth- and nineteenth-century elements. The examination of the object (X-ray, chemical studies of samples of painting layers, stratigraphy of layers) revealed a complicated stratigraphie construction of the canvas — the existence of numerous repainting, spanning assorted ranges. In the past, the painting was subjected to many repairs, i.a. the form of the wooden under-painting was expanded and altered. The conducted survey of source material did not enable a closer ascertainment of the workshop which produced the painting, or its history. Owing to the state of the preservation of the original object and the cult functions it fulfils, conservation entailed the removal of eighteenth- and nineteenth-century repainting, a partial retention of the seventeenth-century layer, and a fragmentary disclosure of the probably sixteenth-century canvas. The article describes a situation when a conservator is compelled to make unambiguous choices, and his decisions maintain or alter the form of a given work of art. Such decisions, therefore, should entail fully conscious selections.

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