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1
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Roleta kominkowa : kilka uwag o historii i technice wykonania

100%
Potocka A. D.
Ochrona Zabytków
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1997
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issue 3
206-211
EN
The blind was known and applied already prior to our era. This extremely popular window facility offered effective protection against the sun, especially in countries of the Mediterranean basin. The presented object is a fireplace blind produced in France, probably in a Parisian or Lyon manufacture. The type and character of the painted ornament permit us to place the time of its origin at the beginning of the first half of the nineteenth century, after the fall of Napoleon I. Concrete dating, however, is very difficult. The same holds true for the establishment of the identity of the author. Nonetheless, owing to the nature of the execution of the object, its theme and workshop, as well as a comparison with other small examples of the artistic crafts from that period, we can risk the thesis that it comes from the reign of Louis Philippe, 1830-1850.
2
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Uzbrojenie na malowidłach ściennych w kościele w Lubecku

100%
Przybyłok A.
Acta Universitatis Lodziensis. Folia Archaeologica
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2015
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issue 30
249-262
EN
Paintings revealed in the Assumption of Holy Virgin Mary church in Lubecko during the conservation works have been pre-dated to the beginning of 15th century. However, after military parts shown on the painting were analyzed, this doens’t seem to be true anymore. All of depicted soldiers wear full plate armours, composed of plate legs and arms protection some of which have gilded protection parts on their joints. Breastplates are rounded and have radiate cannelures. Soldiers’ hips are covered with skirts with foil tassels. That type of breastplates as mentioned above appeared twice in known history of armament: in 2nd half of 15th century and in turn of 15th and 16th. Foil tassels suggest rather that second period. This is the type of armour that was popular in that time; numerous tombstones, examples of iconography and single preserved parts of armours are the proof here. There are few types of helmets shown on the painting: kettle hats, simple shallow skull caps and rare kind of helmet similar to findings from Toruń and Mielno – storczhelme/pekilhube. All pieces of weapon are depicted as schematically as armours. It is worth to notice that swords have pointy forms, good for stabbing. The most interesting one, handled by one of angels, has an even-armed cross-shaped pommel. Additionaly to swords, there are also halberds, hammer-axe and misericorde. Wholeness of the armament seems to be typical for the gothic period. It is highly likely that the author portrayed the reality he knew.
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Siedem kartek, siedem nieszczęść. Fragmenty dziennika Marii z Trębickich Faleńskiej w zbiorach Biblioteki Narodowej

84%
Agnieszka Bąbel A.
Napis. Pismo poświęcone literaturze okolicznościowej i użytkowej
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2017
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vol. 23: List jako szczególny gatunek literacki
241-248
EN
The article is an editorial analysis of the fragments of a diary found in the archives of the National Library in Warsaw (manuscript 5905 II), which belonged to Maria Faleńska, a translator, writer, columnist, and wife of poet Felicjan Faleński. The text is published for the first time and it consists of six pages of the diary dated between 1879-1893 and a single page entitled Silva rerum with citations and golden thoughts. It depicts a portrait of an intelligent, educated and reserved woman, showing a lively interest in a daily life of Warsaw of the second half of the 19th century of which she was a keen observer. The notes were taken very irregularly. The writer’s attention is focused on the outside world and the selection of described events (mainly tragic, such as deaths, illnesses, crimes etc.) and it seems to indicate her pessimistic attitude towards life.
4
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W kwestii datowania wczesnośredniowiecznego grodziska w Rogoźnie. Komunikat

84%
Wawrzyniak P.
Studia Lednickie
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2020
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vol. 19
245-252
EN
The partially destroyed gord in Rogoźno has not been well explored archaeologically. The only excavations at the site were conducted by J. Delekta in the beginning of the 30s of the previous century. They had an interventional character and were conducted due to the washing of the south-east part of the gord together with the dyke during river Wełna engineering, where the gord had been built. Research was principally limited to the description of the occurrent destruction, with a very sketchy description of the exposed cultural layers, as well as to collecting a small set of moveable sources. On the basis of the collected pieces of pottery, J. Delekta assumed that the gord had been created before the 10th century. A similar chronology (phase C of the early Middle Ages) was assumed for the gord in Rogoźno in the post-war studies, and in the recent ones – phase D0 of the early Middle Ages. In the last quarter of 2019, when an electrical wire was being laid down in the close vicinity to the gord, 4 oaken beams were excavated from the construction of the dyke ruined before war (including 2 with characteristic “hooks”). From these beams, samples were taken in order to date them with the use of dendrochronological methods. The analysis revealed that the beams were obtained after the year 900, most probably in 914, which was indicated by one of the samples with yearly dating. It should be therefore assumed that the construction of the stronghold and its further functioning should be connected with the beginnings of the formation of the state of the first Piasts. This process began around the year 900 and continued until the middle of the 19th century within the Gniezno region and its adjoining areas, hence also in the Rogoźno region.
5
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W sprawie obrazu kultury materialnej dworów rycerskich w średniowieczu

84%
Marciniak-Kajzer A.
Acta Universitatis Lodziensis. Folia Archaeologica
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2016
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issue 31
EN
Most archaeological sites, which were considered remains of medieval knight`s manor have readable (separated) terrain form. Most frequently they were situated on artificial mounds, placed in boggy areas, often in valleys of small rivers. As can be seen from the query in all kinds of archaeological publications, on the territory of medieval Polish state (conventionally within the reign of Casimir the Great) about 200 mansions that are relics of knight’s abodes ware investigated in varying degrees. The degree of their knowledge is very different. Only about 46% sites being excavated were elaborated and the results were published with different accuracy. Their scientific level is unfortunately very diverse. While the form of the seats are usually described in a very detailed way, the artifacts found during excavations are mostly only mentioned. Most often we do not know from which part of the site they come from. Although they are sometimes discussed in the framework of the excavation, but it is hard to know if they were in the building or in the courtyard, and perhaps in the moat? Paradoxically, most numerous finds – potsherds – are the least described. They are only enumerated, without even trying to identify forms (vase, pot, jag…). Also, in the case of metal objects, they description very often ends up on the development of an accurate list of the every, even the slightest, iron nuggets. Unfortunately, there are too many lists of objects referred to as „undefined”. With the greatest care archaeologists treat all and any findings in the field of armament, but this is the category of monuments which sometimes introduces a lot of confusion in trying the dating of the settlement. The armament usually is considered to be the so-called „a good dating device” and of course, it is true, provided that it date back itself. Sometimes the total opposition raises in a situation where, for example, dating of one found spur, is considered to be more important than dating established on the basis of hundreds found fragments of vessels and stove tiles. Therefore the necessity to use written and iconographic sources in order to reconstruct the whole material culture is widely appreciated. Here it is necessary to work with medievalist and art historians. It is not a simple matter because dealing with material culture is not very popular among the historians. In the final part of the article the development of a model of conical settlement excavations in Siedlątków published by Janina Kamińska in 1968 is discussed. 
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6
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BADANIA ARCHEOLOGICZNO-ARCHITEKTONICZNE KOŚCIOŁA PW. ŚWIĘTYCH APOSTOŁÓW PIOTRA I PAWŁA W KRZYWORZECE W POWIECIE WIELUŃSKIM

67%
Filipowicz P., Kajzer L., Lechowicz Z.
Ochrona Zabytków
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2007
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issue 4
23-43
EN
Research conducted in the church in Krzyworzeka was carried out by a team from the Institute of Archaeology at Lódz University and the Regional Centre for the Study and Documentation of Historical Monuments in Lódz. The purposes of the investigations were both cognitive and conservation-related. The outcome provided fundamental data concerning the monument in question. The original church was erected on a rather simple plan, with a nave on an orthogonal projection, 9,94x11,69 m, and a narrower, presbytery with the shape of a reverse rectangle, 5,86 x 6,70 m. To the north, the presbytery was adjoined by a sacristy with a length corresponding to the presbytery and a ground floor 2,86x5,54 m large. The thickness of the nave walls totals about 1,55 m, and that of the presbytery and sacristy – 1,30 m. The nave and the presbytery were covered with a wooden ceiling, and the sacristy - with a barrel roof. A freestanding brick bell tower, 5,93x6,15 m. was erected to the south of the church. The stones used for building the walls are easily available and different sized erratic boulders collected while clearing the fields after the locatio, as well as sandstone broken in the deposit, accessible in the nearby outcrops in the river valley of the Krzywa. Smaller stones stabilising the layers of the wall were placed between the larger erratic boulders. The tendency towards preserving the wall faces is conspicuous in the church and the bell tower. The stones were segregated by arranging them with the flat parts towards the face, while the visible parts feature traces of hewing the faces.The bell tower displays nests left begin by the scaffolding, spaced every 1,3 -1,4 m, horizontally and about 1,1-1,2 m. vertically. The archaeological dig registers traces of vertical wooden posts, probably the remnants of the scaffolding, standing 0,3 m from the face wall and 2,3 m from each other. There is no doubt about the connection of the examined monument and the reign of Duke Boleslaw the Pious, the ruler of the land of Ruda, while the direct overseer and constructor supervising the construction was scultetus Theodoric, who located the village. The origin of the church should, therefore, be situated within a current of colonization based on German law (second half of the thirteenth century), totally unexamined as regards its socio-ethnic aspects and insufficiently studied historically. Presumably the architectural spatial model of the church in Krzyworzeka was imported from the birthplace of Theodoric and the colonists brought over by him. There are no data relating to Theodoric's descent, but we are entitled to assume that he could have come to the ducal court and then the land of Ruda from Silesia. The time of the erection of the church and the bell tower can be described approximately, since the locatio act issued in 1264 mentions 15 years exempt of all obligations and services. Such a time span would have made it possible to gather a suitable amount of building material and to erect a church together with a freestanding bell tower. One may accept that the construction was completed about 1280.
7
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Obraz "Ruiny willi rzymskiej" Henryka Siemiradzkiego w świetle ostatnich badań

67%
Sarkowicz D.
Ochrona Zabytków
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2015
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issue 1
141-151
EN
Henryk Siemiradzki is well known to a wide audience mainly for his biblical and genre scenes from the ancient Rome depicted against Italian sunny landscapes, as well as for his leading masterpiece, Nero’s Torches. The romantic and nocturne sceneries are present in his pictures quite rarely. These kind of paintings gained less popularity among buyers as they were not so easy and nice in perception. The picture Ruins of a Roman Villa belongs to this group. From the very beginning, this painting was important for the artist and his work. The precise examination of the picture based on the use of modern analytical spectroscopic techniques, analytical photography, visual analysis and the investigation in the archives shed new light on the creation process and allowed us to complete the quest for the comprehensive knowledge of the painting’s technology and technique. Thanks to the analytical photography in the X-ray and infrared radiation, some significant changes of the author’s concept have been discovered. The content and the character of the initial painting’s layer turned out to be analogous to some other Siemiradzki’s works, which allowed us to determine with more certainty the time of the creation of this unsigned and undated painting. The palette used by the painter in this work has been identified. We have also determined the method of binding paints in the picture. The performed analysis of the painting’s technique and of the method of preparing the support and the remaining evidence of the picture’s history contribute to the data base which supports authentication of other, (sometimes uncertain) works attributed to Siemiradzki.
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Datowanie Apokalipsy w świetle głosów tradycji

51%
Jańczuk L.
Ruch Biblijny i Liturgiczny
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2018
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vol. 71
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issue 1
EN
Christian tradition has not been consistent with regards to the date of the Book of Revelation. According to ancient sources, the book was written under Claudius, Nero, Domitian, or Trajan. Among these four traditions, the strongest is that associated with Domitian. The first proponent of this view was Irenaeus. He was quoted by Eusebius, Victorinus, Jerome and several other Church Fathers, because they believed he was a disciple of a disciple of John the Apostle, the author of the Book of Revelation. Consequently, Irenaeus was commonly treated as the best source of information on this subject. This view was dominant among Biblical scholars until to the present day. Evidence for the earlier date under Nero is even older, but not as strong. This view was rejected by majority of Church Fathers. At the present time, only some scholars prefer the Neronic date.
PL
Głosy tradycji dotyczące daty Apokalipsy są niejednorodne. Według starożytnych źródeł księga ta została napisana za cesarza Klaudiusza, Nerona, Domicjana oraz Trajana. Wśród tych wskazań najsilniejsze wsparcie uzyskuje cesarz Domicjan. Pierwszym zwolennikiem takiego datowania był Ireneusz. Pogląd Ireneusza był cytowany przez Euzebiusza, Wiktoryna, Hieronima i kilku innych Ojców Kościoła, stał się poglądem dominującym ze względu na przekonanie, że Ireneusz był uczniem ucznia Jana Apostoła, autora Apokalipsy. W rezultacie Ireneusz był powszechnie traktowany jako najlepsze źródło informacji na ten temat. Ten pogląd dominuje wśród biblistów po dzień dzisiejszy. Świadectwa na rzecz powstania Apokalipsy w czasach Nerona są nawet starsze, ale nie mają tak silnego oparcia wśród autorytetów. Pogląd ten był odrzucany przez większość ojców Kościoła. Obecnie jedynie niektórzy bibliści opowiadają się za czasami Nerona, jako datą powstania tej księgi.
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