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1

Dokumentacja prac konserwatorskich Józefa Piusa Dziekońskiego (1844-1927) w zakresie architektury sakralnej : w 150-lecie urodzin architekta

100%

Majdowski A.

Ochrona Zabytków

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1994

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issue 2

145-157

EN

This review of the works of one of the most outstanding Polish architects concerns undertakings which the contemporary comprehension of the term does not always classify as conservation. The concept itself conceals different varieties of intervention into historical substance whose intention was not so much conservation as the restoration or complete transformation of the object. The letter usually was the outcome of the need for extensive expansion which frequently caused irreversible destruction of the original building. The least harmful and traditionally sanctioned was the addition of assorted annexes or chapels to the solid of the existing church. Each of those modes occurs in the projects by Dziekoński which offer a general acquaintanceship with the workshop and methodological approach to sacral architecture at turn of the nineteenth century.

2

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.

3

"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.

4

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

5

Zabezpieczenie zachodniego skrzydła Zamku Średniego w Malborku

88%

Mierzwiński M.

Ochrona Zabytków

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1994

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issue 2

123-137

EN

Salvaging the western wing of the Middle Castle in Malbork, threatened with damage, was one of the most significant tasks facing the Malbork Museum from the time it opened in 1961. The matter at stake concerned the most valuable fragment of the fortress on the Nogat river, containing i. a. the Great Refectory — a spacious and vaulted hall from the mid-fourteenth century and one of the largest and most beautiful interiors of medieval Europe. The article recalls attempts to protect the endangered wing as well as its realization conducted in accordance with the conception proposed by dr. Tomasz Najder (a graduate of the Gdańsk Polytechnic) from the Swedish firm STABILATOR AB. The authors of the technical documentation were: prof. Henryk Stille and dr. Sture Eresund form the SKANSKA TEKNIK AB design office in Stockholm who co-worked with dr. Zenon Duda from the Mining-Metallurgical Academy in Cracow who is the technical consultant of the Castle Museum. The conception presumed supporting the walls of the western wing on a number of special micropoles inserted some 12 meters deep into the soil. In the opinion of numerous experts dealing with the protection of monuments, this particular task was the most difficult conservation problem in Poland during the recent past. Today, when measurements show a stabilization of the historical walls of the western wing, we can say with satisfaction that after 130 years i. e. from the first conscious attempt at halting devastation, it has been possible to salvage this magnificent monument of the architecture of the past.

6

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.

7

Historyzm na opak? : refleksje nad konserwacją zabytków w dwudziestym wieku

88%

Krzyżanowski L.

Ochrona Zabytków

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1990

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issue 1

12-15

EN

This text was presented at the session on „History and the Work of Art", w h ich was organized in 1 9 8 8 by the Association of Art Historians. The restoration of architectural monuments, being a product of 17th and 19th century historism, was once a feature of the architectural ideology and thus subordinated to the same historical styles. At the turn of the 19th and 20 th centuries, the development of new construction materials and the architects' breaking off with historical styles could also open new perspectives for the restoration of historical objects. A scientific base was fo rm ulated (by A. Riegl, among others). By introducing a system of evaluation and the concept of the original material and structure of an old architectural work, the road was opened for the development of historical object preservation, for the maintenance of its material shape, its adaptation to contemporary functional needs. It could be expected that there wo uld be a withdrawa l from the principles of 19 th-century architectural restoration, when historical monuments were rebuilt after historical styles in the name of an imagined concept of the contemporary restorer, sometimes under the deceptive slogan of restoring the original state. The collapse of the campanile of S. Marco, Venice, and its immediate reconstruction at the beginning of the 20th century, posed new questions to historical-object restorers. Then the tw o world wars created a new situation. Not many countries of Europe refrained from post-war reconstruction of already nonexistent churches, tow n halls etc. The author analyses the causes of this action, pointing to a number of myths created by restorers in the 20th century in an effort to prove the objective nature of their undertakings, so as to avoid the pitfalls faced by 19th-century restorers of architectural objects. These are undertakings which to a certain extent strive for the feeling of comfort of those working at the restoration of historical heritage. The essence of the matter lies in the interpretation of history, which each generation approaches from its own perspective. If, however, the goal is to preserve the heritage of past ages, to adapt it to contemporary and future functions, then an answer must be provided to the question: is it our task to recreate history, is the construction of copies an expression of respect for the history of our species and its achievements. It must be emphasized that 20th-century architecture has also passed through several recurrences of historism. In many countries a withdrawal from post-modernism is sought in the preference for contemporary solutions that reach into the future. There is no reason, however, for historical object restoration to repeat all the trends that contemporary architecture goes through. We must nevertheless answer the question how we, historical object restorers, understand history and what our duties are towards it. This is also an issue of professional ethics.

8

Badania architektoniczne Pałacu Błękitnego w Warszawie

88%

Nekanda-Trepka E., Smoktunowicz M.

Ochrona Zabytków

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1998

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issue 2

100-115

9

Przekształcenia przestrzenne kościoła w Powsinie k. Warszawy od XVIII do XX stulecia

88%

Majdowski A.

Ochrona Zabytków

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1992

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issue 4

296-323

EN

The beginnings of the Powsin parish date back to the end of the fourteenth century. This was also the period of the original church. The letter was a wooden edifice to which a brick presbytery was/added with time. There are no dates which would make it possible to attempt a reconstruction of the history of the church prior to the eighteenth century. In the years 1726-1728 Elżbieta Sieniawska founded a brick church whose design was probably made by Jozef Fontana ( ca. 1670-1740). Sieniawska's foundation was an example of provincial Baroque characterised by mediocre artistic merits. The illusion of opulence was created by a much pilastered facade which concealed a considerably narrower two- span corps. The proportions of the nave, more Gothic than Baroque, did not quite harmonize with the front elevation. True disharmony was introduced by the low solid of the overly elongated galilee which upset the spatial composition of the whole. Possibly, this was a remnant of the old presbytery, which, in accordance with the medieval canon, closed the wooden nave from the east. The church survived unaltered until the of the nineteenth century, and was subjected to several renovations which did not undermine its spatial structure. The first attempt at a radical reconstruction was undertaken in 1887, upon the basis of a plan made by Stanisław Adamczewski (1830-1916). Once the construction work was initiated, tne original designer was replaced by Jozef Huss (18461904). In contrast to Adamczewski, whose plans are an example of a model-like expansion of a sacral building, Huss's design was distinctly unsuccessful. True, he resolved his task in accordance with the general plan of his rival, but he resigned from those components which were decisive for the aesthetic values of the earlier project. The delicate contrast between the facade and the Classicistic decoration of the side naves was supplanted by the impact of the Baroque, the letter begin the outcome of an „archeologically” comprehended doctrine about the unity of style. Creative ambitions were overcome by a tendency to leave one's own mark, that falsified the true age of the object. This inclination was particularly visible on the front wall of the vestibule with an added imitation of a portal, aggresively displayed against the background of the tower elevations, embellished with niches containing statues of the saints. In addition, the squat towers, placed next to the galilee, completely deformed the building. It is easier to notice the mystification in a side view of the church, which makes it obvious that we are dealing with an alien addition to a church which, albeit not overly magnificent, possessed a certain unassuming and individualised charm. The glaring mistakes were put right by Joxef Dziekoński who was entrusted with a successive reconstruction, performed in the years 1921 -1924. This renowned architect and specialist dealing with church architecture, endowed the parish church in Powsin with a truly original appearance. The merits of local tradition, discernible up to this very day, effectively compensate double as regards the method or nature of introduced changes. Their range allowed the structure of the church to regain, some two hundred years after Sieniawska's foundation, features enabling to regard it as a complete product of architectonic art. Once again, in establishing criteria of appraisal, one should refer more to the domain of emotions than to pass objective judgements concerning historicism, whose aesthetics became outdated before the decision about the expansion was even made.

10

Problemy współczesnej restauracji polichromii klasycystycznej na przykładzie komputerowej aranżacji malowideł w kamienicy Pod Aniołkiem w Krakowie

75%

Kwiatkowska M.

Ochrona Zabytków

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2013

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issue 1-4

23-36

EN

The article concerns frescos from the 15th century bourgeois tenement house called “Pod Aniołkiem” in Cracow. Most important issues raised here are: contemporary conservation and restoration of classical polychrome on the eastern wall of the front room on the second floor and the visualisation of this room with regard to restoration and design works conducted there in the seventies. The room is such an excellent example of the variety of historical layers that it has become the subject of the computer three-dimensional visualisation. The spectator can be easily sent to different appearances of the room – in chosen periods of time. The history of the tenement house called “Pod Aniołkiem” and the description of the frescos inside are also included in the article. Other issues discussed here are: problems with conservation in the seventies of the twentieth century and the attitude of restorers towards the exhibition of wall paintings. Last but not least, the condition of frescos’ conservation in the room and the physical-chemical researches carried out there are tackled as well. Translated by Dobromiła Kwiatkowska

11

Międzynarodowa Karta Konserwacji i Restauacji Zabytków i Miejsc Zabytkowych

75%

Ochrona Zabytków

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1966

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issue Postanowienia i uchwały

3-5

12

Trwała ruina : granice i uwarunkowania działań konserwatorskich na przykładzie zamku w Janowcu nad Wisłą

75%

Szmygin B.

Ochrona Zabytków

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1997

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issue 1

12-18

EN

A certain conservation code, known as the English school of the conservation of ruins, has been arranged for a group of objects which survived only in the form of ruins. This type of work, conducted in accordance with the doctrine of the Charter of Venice, has been accepted in Poland and is universally applied in relation to objects which are preserved up to our times as ruins. For two hundred years, the castle in Janowiec existed as a ruin. During the first stage of conservation, carried out for over twenty years, the castle was protected in accordance with the principle of retaining permanent ruins. In altered political, social and economic conditions, the supervising group of conservators recognised that leaving Janowiec Castle in the form of a mere ruin is insufficient. Didactic, pragmatic, functional and financial reasons justified the acceptance of a plan for a partial reconstruction and rebuilding select parts of the castle. The rebuilt fragments will be adapted to various utilitarian functions. The intention of this article is to present the conception of utilising ruins, realised in Janowiec, and to indicate the fundamental conditions and restrictions for this type of a venture.

13

Kaplica Sykstyńska - badania, konserwacja, dyskusja

75%

Kwiatkowski K.

Ochrona Zabytków

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1990

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issue 2

84-90

EN

The decision to renovate the vaulting of the Sistine Chapel was undertaken in 1 980. Due to the increasing air pollution in Rome and the loosening of the wall plaster, there was fear that certain parts of Michelangelo's painting would be damaged. The preservation work was planned for 12 years and assigned to one conservator, head of the studio for the preservation of paintings in the Vatican Museum - Gianluigi Collaluci. The current preservation work is in fact the third undertaking in the chapel's history that aims at a thorough cleaning of the vaulting. It is also the first for over two centuries and was preceded by thorough laboratory studies of the frescoes. The results of these studies made it possible to work out the proper techniques and methods of preservation. Already at the moment of setting up the scaffolding underneath the vaulting, questions arose whether the painting work should be submitted to preservation measures, or whether these would cause irreversible changes. As subsequent scenes were uncovered by the conservators, the discussion became more heated. The author of the article gives many arguments of the opponents as well as supporters of the current preservation methods. A full evaluation of the effects of these undertakings will be possible only with their completion, when the entire vaulting can be viewed.

14

Dziewiętnastowieczna restauracja kolegiaty w Kruszwicy

75%

Hewner K.

Ochrona Zabytków

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1998

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issue 3

258-265

EN

Conservation conducted in the collegiate church in Kruszwica in the course of the last two centuries was the outcome of two different artistic conceptions. The 1856— 1859 restoration, performed according to the principle of unity (purity) of style, was applied only in reference to the outer solid of the church (the outfitting of the interior remained Baroque). In the political situation of the period, the scientific milieu and society considered the enhancement of the collegiate church with numerous brick detail, foreign to Romanesque architecture from the first half of the twelfth century, as a tendentious attempt at endowing the church with features of a “Prussian” neo-Gothic. Postwar work, performed in 1954-1956, aimed at an intentional archaisation of the interior, which corresponded to the conception of modernist aesthetics, launched at the time. The designed Romanesque interior, displaying the texture of the walls, does not reflect the atmosphere of a Romanesque church, which offered the faithful of the Early Middle Ages a whole gamut of bright hues and opulent detail.

15

Z rozważań nad miejscem konserwacji zabytków wśród innych dyscyplin

75%

Ślesiński W.

Ochrona Zabytków

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1970

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issue 3

161-166

EN

The question as to the place the modern knowledge of cultural property conservation occupies among the other knowledges cannot be simply answered by m e ans o f knowledge classification prepared by UNESCO nor by that of National Sciences Foundation, USA or classification used by the USSR Central Statistics Office. Through the highlighting of evolution the concept of cultural property conservation itse lf has underwent in course of time, the motives and incentives tending the people to undertake conservation, the tasks and demands, methods and means applied as well as the professional and ethical requirements and those connected with the conservator’s training level the author makes an attempt to define specific features of the conservation itself. He comes to conclusion that it cannot be considered as an entirely humanistic field of knowledge though it deals with products of the man’s mind and culture neither as art, 'though some creative elements are apparently present in it, nor as a typica lly technical discipline even at the cost of its considerable shares of experience, observation and so on. From the author’s considerations a final conclusion could be drawn that conservation of cultural property in its actual state represents one o f practical knowledges c losely related to several other disciplines but under no condition aligning with them.

16

Konserwacja i restauracja ściennego tabernakulum (sakrarium o budowie skrzyniowej) z Marianki Pasłęckiej. I połowa XV wieku

75%

Gruszczyk N., Arszyńska J. M.

Rocznik Muzeum "Górnośląski Park Etnograficzny w Chorzowie"

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2014

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vol. 2

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issue 2

174-191

PL

W artykule poruszono problematykę konserwacji i restauracji drewna skrzyniowej konstrukcji tabernakulum oraz jego dekoracji malarskiej wykonanej w technice chudej tempery. Po wstępnym przybliżeniu charakteru obiektu, technologii wykonania, historii oraz stanu zachowania, opisano proces konserwacji, zastosowane metody oraz środki. Przedstawiono konkretne procedury postępowania konserwatorskiego przy polichromowanych deskach o osłabionej strukturze wewnętrznej drewna bez możliwości demontażu zabytku na poszczególne elementy. Ponadto opisano zaprojektowaną i wykonaną aluminiową konstrukcję zewnętrzną, która obejmując całe sakrarium z zewnątrz, przejęła obciążenia oddziałujące na osłabione złącza konstrukcyjne. Dopełnienie opisu stanowi przybliżenie dyskusji dotyczącej określania zakresu rekonstrukcji malowidła Vir Dolorum znajdującego się na drzwiczkach tabernakulum, którego warstwa malarska była zniszczona w ponad 30%.

EN

The article concerns the issue of conservation and restoration of wooden elements of the cabinet construction of a church tabernacle and its decoration painted in the lean tempera technique. After the initial presentation of the object’s characteristics, technology of its creation, history and state of preservation, there is also a detailed description of treatment with some methods and means that were used during the conservation and restoration process. Furthermore, the work refers to some specific procedures of dealing with the strengthening of polychrome wooden boards with a weakened internal structure of wood, without the possibility of dismantling the artefact. Moreover, the article also describes the designed and implemented special aluminium outer construction that – embracing the whole church tabernacle from the outside - took over the load affecting the weakened structural joints. The description is complemented with the reference to the discussion on defining the extent of reconstruction of the Vir Dolorum painting located on the door of the tabernacle, where paint layer was damaged in more than 30%.

17

Zasady konserwacji i wytyczne dla historycznych parków i ogrodów w Anglii

63%

Jacques D.

Ochrona Zabytków

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2016

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issue 1

57-72

PL

Artykuł bazuje na wynikach mojej pracy nad sformułowaniem wytycznych dla English Heritage pn. Zasady konserwacji i wytyczne dla historycznych parków i ogrodów w Anglii. Przedstawiam w nim krótki zarys zmieniających się w ciągu ostatniego stulecia koncepcji; wyjaśniam tło filozoficzne i praktyczne jednego z istotnych okresów kształtowania się myśli konserwatorskiej – lat 80. XX w., a następnie przeciwstawiam je podejściu 1. dekady bieżącego stulecia. Podejście to różni się od poprzedniego w definiowaniu celów restauracji, formułowaniu urzędowych zaleceń, akceptowaniu zmian oraz postawach wobec nowych rozwiązań. Podczas gdy rozwój terminologii i technik następuje stale, kontekst czasów obecnych wymaga bardziej holistycznego podejścia, uwzględniającego całokształt procesu konserwatorskiego, czyli określenia celów działań, kryteriów dobrych praktyk i prawidłowej dokumentacji.

EN

This paper derives from work on writing guidance for English Heritage on ‘Conservation Principles and Guidance for Historic Parks and Gardens in England’. The changing conceptions of conservation and restoration over the last century will be briefly charted. The philosophical and practical background to one formative period – the 1980s – is explained and then contrasted to the approach of the 2010s. The changes resulted in differences in defining the aims of restoration, the formulation of official advice, acceptance of change, and attitudes to new work. Whilst the advances in terminology and technique remain, the concerns of today relate as much to the process, viz. in the definition of objectives, criteria for good practice and proper documentation.

18

„Fabrykacja” dynastii Bragança. Studium oracji Antóniego de Sousy de Macedo "Fala que fez o D. António de Sousa de Macedo do Concelho da Fazenda da sua Magestade..." (1656)

63%

Działak-Szubińska A.

Res Rhetorica

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2022

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vol. 9

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issue 4

96-110

EN

This paper examines the oration by António de Sousa de Macedo (1606-1682) titled Fala que fez o D. António de Sousa de Macedo do Concelho da Fazenda da sua Magestade, no juramento de rei do Muito Alto e Muito Poderoso Dom Afonso VI, nosso senhor, em quarta-feira 15 de novembro 1656, published in 1656. The article argues that the oration is part of a wider restoration and post-restoration context framed by the end of the union between Portugal and Spain (1640) and the war between the two countries (1640-1668). Following the principles of close reading, the analysis pursues the main axes of the monarch's praise and “fabrication” of his prestige and the image of the whole dynasty. The article finds methodological support in, among others, Peter Burke's The Fabrication of Louis XIV (Polish edition 2011).

PL

Artykuł przedstawia orację autorstwa Antóniego de Sousy de Macedo (1606-1682) Fala que fez o D. António de Sousa de Macedo do Concelho da Fazenda da sua Magestade, no juramento de rei do Muito Alto e Muito Poderoso Dom Afonso VI, nosso senhor, em quarta-feira 15 de novembro 1656, wydaną drukiem w roku 1656. W tekście dowodzi się, że oracja wpisuje się w szerszy kontekst restauracyjny oraz post-restauracyjny związany zarówno z zakończeniem unii Portugalii i Hiszpanii (1640), jak i z wojną między oboma krajami (1640-1668). Zgodnie z założeniami close reading analizowane są główne osie pochwały monarchy i „fabrykacja” jego prestiżu oraz wizerunku całej dynastii. Wsparcie metodologiczne stanowi m.in. praca Petera Burke’a, Fabrykacja Ludwika XIV (wydanie polskie 2011).

19

ROLA WINA W PRACY SOMMELIERA W POLSKICH RESTAURACJACH

63%

WOŹNICZKO M., ORŁOWSKI D.

Zeszyty Naukowe. Turystyka i Rekreacja

|

2018

|

vol. 2(22)

103-123

PL

W opracowaniu przedstawiono pracę sommeliera w restauracji i zasady podawania win, ze szczególnym uwzględnieniem skomponowania karty win i doboru win do potraw. Autorzy dokonali charakterystyki sylwetki sommeliera, a także sprzętu i narzędzi sommelierskich. Przeprowadzili charakterystykę, klasyfikację i podział win. Opisali temperaturę podawania win i dobór kieliszków. Ukazali przebieg obsługi gości w zakresie doradzania i podawania win w restauracji przez sommeliera. Zaprezentowali zasady układania karty win w restauracji. Zestawili ogólne zasady doboru win do potraw w pracy sommeliera. Do przygotowania opracowania wykorzystano metodę badawczą desk research. Dokonano analizy literatury przedmiotu i doniesień branżowych oraz przeglądu portali internetowych dotyczących poruszanego zagadnienia.

EN

The study presents the work of a sommelier in a restaurant and the rules of serving wines, with particular emphasis on the compilation of a wine list and the selection of wines for dishes. The authors have characterized the sommelier’s silhouette as well as sommelier equipment and tools. They carried out characteristics, classification and division of wines. They described the temperature of wine delivery and selection of glasses. They showed the course of guest service in the area of advising and serving wines in a restaurant by a sommelier. They presented the rules for arranging a wine list in a restaurant. They combined the general rules for the selection of wines for dishes at the work of a sommelier. The research method was used to prepare the study. The article’s literature and industry reports were reviewed as well as a review of internet portals regarding the issue under discussion.

20

Wzmocnienie konstrukcji wychylonego odcinka murów obronnych Starego Miasta w Warszawie

63%

Maszewski K.

Ochrona Zabytków

|

2000

|

issue 3

267-280

EN

The defensive walls of the Old Town in Warsaw are preserved to the north-west and south-west. This section was most developed, since flat terrain did not offer any protection against possible attacks. The state of the preservation of the walls is extremely differentiated; the largest amount of the original substance is extant in the outer walls, but, as a rule, it is the lower parts which are faced in successive conservation preparations. The whole length (together with the crenelation) preserved a fragment of the inner circuit of the walls, immediately next to the House by the Butchers’ Gate; to the north, it closes Szeroki Dunaj Street. This fragment attracts our attention due to a considerable deflection towards the space between the walls. Technical research performed for many years demonstrated that the stability of the walls was preserved, assuming the uniform structure of the walls and a safe transference of the load by the foundations and the ground in the spot of the greatest deflection. The last phase of research distinguished two missing elements: the uniform structure and the regularity of the cooperation of the foundations. The former was examined by means of the radar method (emission of electromagnetic waves) and the isotope method (emission of y radiation). Apparently, the wall structure is not uniform, and stratifications divide the shaft along planes parallel to the face. The foundations, formed of granite rocks and with a destroyed levelling stratum, comprising the basis for the brick wall, were not suitable support for the deflected wall. The project of construction protection thus contained two trends of solution: the monolithisation of the shaft (diagonal clamping and an injection of mortar and cement paste) and the reinforcement of the foundation (shaping stable support with attention paid to the eccentricity of load of the walls). Conservation work was realised in 1990-1991 by the Ateliers for the Conservation of Historical Monuments — the Department of Conservation and Studies. The article contains a discussion of the research, project and realisation problems of the construction-conservation protection of the deflected section of the defensive walls of the Old Town in Warsaw.

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