Search results

1

Konferencja w sprawie konserwacji malowideł ściennych woj. wrocławskiego

100%

Ochrona Zabytków

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1965

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issue 3

56-58

2

Utlenione pigmenty ołowiowe w malowidłach ściennych i przywracanie ich pierwotnych barw

100%

Karaszkiewicz P.

Ochrona Zabytków

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1992

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issue 3

240-241

EN

Attempts were made to restore original hues to murals executed with lead pigments: white and red. In both cases positive effects were obtained. The procedure was subsequentlys recorded. (translated by A. Rodzińska-Chojnowska)

3

Konserwacja malowideł ściennych w zamku w Lidzbarku Warmińskim w latach 1955-1985

100%

Tytus-Wańkowska J.

Ochrona Zabytków

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1990

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issue 1

23-27

EN

The article is an attempt to show the thirty-year-long activities of restorers aiming to protect the group of wall paintings in the castle in Lidzbark Warmiński. The castle was built as the seat of the bishops of Warmia in the years 13 5 0— 14 00. It is one of the most beautiful Gothic structures in Poland. The castle interiors had a wealth of paintings. These came from various periods: from the end of the 14th cent, until the end of the 15th cent., and from the 18th cent, (wh en the castle interior underwent adaptation). The first restoration-construction work was begun in 1 8 96. In the course of it Gothic paintings were uncovered on the walls. Restoration work on a greater scale was taken up later, in 1 9 2 4 and was completed in 1 9 39. The first restoration work after the war was begun already in 1 9 5 3 . In 1 9 5 6— 1 9 6 0 the paintings in the lower parts of the chapter-house wall were uncovered, preserved and protected. In 1 9 6 8— 1 9 6 9 students and staff of the Fine Arts Restoration Department of the Mikołaj Kopernik University in Toruń investigated and unveiled a painting on the cloister vaulting: in 1 9 6 8 in the north and west wing, and in 1 9 6 9 in the east wing. At the same time, the Szczecin Branch of the Ateliers for Conservation of Cultural Property carried out architectonic studies of the castle, which revealed the presence of many paintings under the wall plaster layers. These were from the 1 5th to the 18th cent, and included, among others, the currently totally uncovered wall paintings in the Kredens room of the chapel and paintings on the vaulting of chambers in the north wing and in the Small Refectory. In 1 9 7 9 wide-scale restoration work was commenced on the Scene with Bishop Anzelm and paintings with the coats of arms from the castle cloisters. In 1981 complex work was begun on the painting decoration of the Samll Refectory. First the Gothic decoration in the vault ribs was uncovered. Next, its restoration was carried out along with the colour integration of the losses in the painting layer. This work lasted until 1 9 8 3 . All work conducted in the period from 1 9 7 9 to 1 9 8 3 was done by restorers of the Ateliers for Conservation of Cultural Property from Olsztyn.

4

Toruń - nowo odkryte czternastowieczne malowidła ścienne

88%

Ochrona Zabytków

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1963

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issue 2

71

5

Konserwacja malowideł ściennych z XVI w. w prezbiterium katedry w Oliwie

88%

Wolska E.

Ochrona Zabytków

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1964

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issue 1

47-54

FR

En L956 des peintures murales de la fin du XVIe siècle furent découvertes sur les murs nord et sud du choeur de la cathédrale d’Oliwa. Elles étaient cachées sous des tablieux de 1613 et elles représentent le fondateur et les bienfaiteurs de l’église et du cloître des Oiisterciens à Oliwa. Ces peintures, fondées par l’Abbé Kasper Jeszke (mort en 1587), sont en huile et en tempera. Leur état de conservation était inégal — par places la couche de peinture s ’écaillait, s ’enroulait ou se réduisait en poudre, Toute la surface des peintures était couverte de poussière et en partie de chaulage. Aux nombreux endroits le crépi n’était pas bien attaché au mur et il était endommagé par des clous. Les travaux de conservation furent réalisés en 1961 par un groupe de restaurateurs de l’Institut de la Technologie et des Techniques Pictorales de l’Université Nicolas Copernic de Toruń. Les parties endommagées de la couche de peinture furent recouvertes de la solution du polyalcool de vinyl et du polyglycol d’ethylène en chauffant la surface avec des rayons jusqu’à l’infrarouge et en la repassant à l’aide de tampons mous isolés par des feuilles de polyethylene. Les clous furent enlevés. Là où il se séparait du mur le crépi fut attaché par des injections de polyacétate de vinyl dispersé dans de l’eau. Les endroits endommagés du crépi furent réparés à l’aide du mortier après avoir isolés les bords par le polyacétate de vinyl. Les retouches furent faites aux couleurs à base de polyalcool de vinyl par des traits horizontaux. Les reconstructions de peintures sur des crépis nouveaux seront réalisées plus tard.

6

Estetyczne problemy konserwacji malowideł ściennych

88%

Krzyżanowski L.

Ochrona Zabytków

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1990

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issue 1

53

7

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

8

Nieznane malowidła ścienne w drewnianym kościele parafialnym p.w. św. Mikołaja w Gąsawie

75%

Jankowski A.

Ochrona Zabytków

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2001

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issue 1

81-88

EN

Fragments of the murals were discovered in 1999 during the exchange of one of the elements of the northern nave wall at the time of repairing the church. The painted decoration of the entire wall was uncovered in July that year. Probes confirmed the presence of murals in the whole interior. A superficial analysis demonstrated that the paintings originate at least from three phases. At this moment, only one of those phases has been dated as 1706, a supposition confirmed by a commemorative inscription. This decoration, by no means the most recent, conceals the other strata. The characteristic and stratification proposed in the article do not assume unambiguous solutions. A formal-stylistic assessment is rendered impossible by the unsatisfactory state of the preservation of the monument. In addition, there are no available results of technological research. We can generally ascertain that the decorations were executed by using variously prepared tempera—thick and thin. The thin layer of the ground was placed only underneath the oldest paintings fromthe turn of the first and second quarter of the seventeenth century. The sole extant remnants are the octagonal „quarters” surrounded with an ochre frame, granted a distinct contour. The origin of the successive phase of the decoration is placed in the 1670s. The best preserved are the paintings from1706. Their forms, shaped by means of colour and chiaroscuro, characteristic ornaments and a programme-like illusionism aimed at transforming the optical merits of the interior are concurrent with the stylistic of mature Baroque painting. The latest decoration was probably painted immediately after 1816, when a brick chapel was added to the northern nave wall.

9

Transfer malowideł ściennych o nierównej powierzchni : konserwacja malowidła z sufitu mitreum w Huarte

75%

Trochimowicz A.

Ochrona Zabytków

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2002

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issue 3-4

309-315

EN

A mithraeum, decorated with paintings and originating from the fourth century A. D., was discovered in 1997 underneath the floor of the Syrian church from the sixth century A. D. The painted rock ceiling of the temple caved in during archaeological excavations, and the only way of saving the murals was to transfer them onto a new basis. The conducted conservation made it possible to exhibit the disintegrated painting while retaining the specificity of its original surface. A new type of facing was used for rendering indelible the original plaster - a negative was made of the traditional carriers in the form of cotton gauze and linen cotton, reinforced with ribbing made of Kapa-plast plates. The conservators also used a modified type of substitute foundation construction - an inner lining laminate with a Kappa-plast plate bracing truss covered with linen cloth. The truss chambers were filled with polyurethane foam, which was then laminated with an outer facing. The whole construction was additionally reinforced by installing a framework made of aluminium profiles with a system of thin wires stretched inside the foaming polyurethane. The applied material made possible a maximum reduction of the burden of the transfer. The purpose of the presented study was to devise a method of transferring the remaining part of the paintings in the mithraeum. In time, the progressing degradation of the rock foundation will make it necessary to shift also those paintings which today remain in situ.

10

KONSERWACJA XVII-WIECZNYCH MALOWIDEŁ W CELACH NOWICJACKICH KLASZTORU OJCÓW BERNARDYNÓW W LEŻAJSKU

75%

Obruśnik A. E.

Ochrona Zabytków

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2009

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issue 1

12-37

EN

One of the essential recent phenomena in the conservation of historical monuments in Poland was the discovery of seventeenth-century murals in the novitiate cells of the Bernardine monastery in Leżajsk. The murals embellish seven interiors with a cross vault, placed along a second- -storey corridor of the western wing of the building. For centuries they had been concealed under later layers lime, sand-lime finish, paint and plaster. The characterstic feature of the murals is great stylistic diversity. The themes of the figural depictions are religious or allegoric, accompanied by plant-geometrical inscriptions. The south wall of cell no. 1 is decorated with traces of a landscape sequence including a figure of a monk, while the west wall – with a drawing of a monk and on the window embrasure – a monogram of the Holy Family. The north wall features the Madonna and Child surrounded by angels, a town panorama and, in many places, fragments of geometric ornaments. The east wall of cell no. 2 displays horizontally arranged lines, a figure of St. Margaret and within the door embrasures – the Golgotha with a figure of Satan and an emblem of death. The south wall contains a figural and genre scene as well as a wreath with the monogram ”IHS”. The west wall features a symbol of the Name of Mary and an outline of a clock. The north wall is decorated with a text of a prayer, fragments of a wreath, a genre scene and a figure of a man. Cell no. 3 displays a predominance of geometrical ornaments. The west wall shows the contour of a Latin cross and a figure of Franciscan, the west wall – a figure of a (statuesque) woman, and the south and north walls – inscriptions and individual figural accents as well as monograms of the names of Jesus and Mary. The east wall of cell no. 4 is adorned with a painted portal, a cornice and a motif of flowers in vases. The upper part of the south wall preserved fragments of inscriptions and a radial gloria with the monogram “IHIS”. The motifs on the west wall include the Golgotha, a clock face and three rosettes. The upper part of the north wall contains a Marian emblem surrounded with a nimbus and flanked by bouquets of flowers in vases, while the lower part is composed of a scene with a monk portraying in front of a cross. In cell no. 5 angels had been painted above the door, with an allegory of death to the left of the door, a figure of monk and an owl within the door embrasures, and the Crucifixion encircled by relics of lesser scenes. The west wall preserved a depiction of the five wounds of Christ while the north wall features fragments of angels and the emblem ”IHS”. Each wall has an inscription along the ceiling arch. The east wall in cell no. 6 is covered with figural, plant-ornament motifs, inscriptions and monograms of Christ and the Mother of God. The left door embrasure is embellished with a figure of a Franciscan, while the south wall has a Marian monogram encircled with a decorative rosette, a wreath, a Latin inscription and lesser monograms. Similar elements are to be found on the west wall. The upper part of the north wall shows two monograms of Christ, a Marian monogram and a monogram of St. Joseph, while the lower one – two wall hangings, a rosette and lesser monograms and genre scenes. In cell no. 7 murals are extant on the east wall. Legible elements include the inscription ”MEMENTO MORI”, fragments of plant-geometrical ornaments and architectural motifs. The murals were executed in the al secco technique. Due to extensive gaps produced by repairs, redesigning and mechanical damage, their state of preservation is highly unsatisfactory. The examination revealed 23 technological strata and 14 chronological ones. The first stage of conservation consisted of disclosing the murals, their fixation, the removal of putties and the reinforcement of the structure of the base as well as supplementing, cleaning and introducing the uniform colour of the original plaster. In the case of certain gaps conservators applied retouching. Niches in the north walls and window embrasures were restored in all cells. The mural in cell no. 1 on the left door embrasure was lifted off the wall by means of the stacco method due to threats connected with repairconstruction undertakings. A fragment with a mural on the east wall to the left of the door in cell no. 3 was removed in a similar way and placed on the west wall. After the conservation, the group stratigraphy of the murals revealed eight technological layers. The titular murals deserve further thorough studies.

11

RATUSZ W JAWORZE

63%

Malzacher M.

Ochrona Zabytków

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2005

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issue 3

19-30

EN

Jawor, located in the Sudety Highlands on Nysa Szalona, received municipal rights probably already in 1242. In 1301-1346, it was the capital of the duchy of Jawor ruled by a local branch of the Piast dynasty. The first town hall was erected after 1372, when the office of the local wójt was bought up by the city council. The only remnant of the original Gothic construction to have survived up to this day is a town hall tower with stone architectural figural sculptures and an extensive ideological-artistic programme. The other part of the building was devastated during the great fire of 1895, followed by a thorough reconstruction. The municipal authorities announced a general competition for the construction of a new town hall. The ultimately accepted project was proposed by the German architect Hermann Guth. The conception of architectural shape was based upon a Low Countries Renaissance composition and stylistic conception proposed by Guth in another design (the town hall in Tarnowskie Góry). The feature decisive for the originality of the new town hall in Jawor was predominantly the decorative murals embellishing the outer elevations. The paintings constituted an opulent iconographic programme expressing contents associated with the history of the building and the town, which at the time lay within the frontiers of Prussia. The mural was executed by means of a new stereochrome technique: the use of mineral paint was to guarantee durability and to protect against harmful atmospheric factors. The murals did not survive up to this day, and after the second world war the conservation of the town hall plaster elevation entailed thorough cleaning, which resulted in the removal of the decorative murals. An analysis of the value of the damaged murals should take into consideration not only their artistic and historical merits but also the fact that they were an early example of the application of the silicate technique in decorating the elevation of an historical object.

12

Przyczynki do historii ściennych malowideł bizantyjsko-ruskich w Polsce : technika i konserwacja

63%

Stawicki S.

Ochrona Zabytków

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1994

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issue 1

3-21

EN

The Byzantine-Rus’ murals which were created in the Crown and Lithuania between the turn of the fourteenth century and the mid-sixteenth century hold a special place in Polish history and art. They remain fascinating not only from the ideological-artistic point of view but also as regards their technical-technological and conservation aspects. This article presents a review of knowledge concerning the technique of the murals’ execution and the problems connected with their conservation which are available in accessible source material and literature published prior to the second world war. The article discusses studies on the non-extant painted decorations of the Benedictine Holy Cross church in Łysieć and the royal bed chamber in Wawel Castle (commissioned by Władysław Jagiełło from Rus’ artists), the surviving fragments of murals from the Uniate church in Supraśl (middle of the sixteenth century), the murals in the Sandomierz collegiate, founded by Władysław Jagiełło, the murals in the castle in Troki (fifteenth century?) of which only fragments of the original plaster have survived, murals in the Holy Trinity church in Lublin castle and the Basilian church in Supraśl, the decorations of the Holy Cross chapel in Wawel cathedral, paintings in the cathedral in Sandomierz, fragments of decorations in the Armenian cathedral in Lvov and the collegiate church in Wiślica. Sources mention high quality material which testify to the rank of the commissions and the rank of the wall decorations in question. The material included gold leaf (hammered gold) applied probably in all Byzantine-Rus’ paintings produced in the former Kingdom of Poland and Lithuania; the so-called rubrica — red clay, understood broadly as natural combinations of silicates and iron oxides; vermilion — a red pigment in the form of a natural mineral or prepared artificially; a group of pigments indispensable for the production of paints used for completing the paintings by stages by placing consecutive patches of light hues and dark emphasis; vessels (most probably non-absorbent) for storing liquid paint — the number of such vessels corresponded more or less to the number of colours required for the execution of a given painting. As a rule, the technique of the murals was determined „by intuition” which often led to serious misunderstandings. Certain scholars (M. Sokołowski, J. Rokoszny) revealed, however, apart from considerable intution also a correct comprehension of the Byzantine-Rus’ treatises on painting technique. Attempts were also made to draw conclusions upon the basis of chemical analyses which, in accordance with existing laboratory facilities, were modest but thorough (W. Peszczański, P. Cholodny). In the domain of conservation, the classification of the technique of the Byzantine-Rus’ paintings by J. Makarewicz to the tempera group (accepted also by Matusiak, Rutkowski and others) influenced the reinforcement (not always desireable and rather harmful) of the paint layer with diluted distemper, probably egg. Acetic acid was used for the removal of calcareous residues of plaster. The painting was disclosed with the aid of a thin layer of gypsum introduced onto the surface of later layers and then chipped off together with them. Disclosure was also accomplished by a more direct method based on the use of knives, hammers and spatulas. Blistered plaster was fastened onto the wall with nails as well as liquid gypsum which filled the spaces between the plaster and the wall. Artistic-aesthetic solutions reveal a tendency towards obtain ting proper artistic expression i.e. one which would take into consideration both the authenticity of the work of art and the state of its preservation. So-called neutral patches are employed, and recommended in those parts of the painting which are totally ruined and provide no bases for reconstruction. The reflections of A. Riegel show distinct beginnings of conservation critique which can be discerned also in the remarks and directives of the Russian Imperial Archeological Commission concerning the Supraśl murals. It must be stressed that regardless of the discrepancies between the emerging professional ethics and conservation work which in many instances was unsatisfactory, one simply must notice the permanent progress of conservation thought in Poland. A brief survey of source material and various studies proves that our contemporary technical-technological and conservation knowledge — if only as regards Byzantine-Rus’ murals — has a rich tradition and deserves our attention.

13

Konserwacja malowideł ściennych w kościele św. Mikołaja w Bejscach

51%

Furdyna J.

Ochrona Zabytków

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1965

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issue 4

47-57

FR

L’église gothique à Bejsce fu t construite vers la fin du XIV-me siècle en brique avec éléments en pie rre de taille (nervures de voûte, clefs, arcs diu transept, baies d e fenêtres etc.). La polychromie gothique a été découverte en automne 1963 sous deux couches de crépi e t sous environ sept couches de blanc de chaux. Elle s’étend su r une surface de 34 mètres carrés, et, à l’exception de la place occupée par le tombeau de E. Firlej, style ren a issance, la polychromie même est restée en principe intacte. Elle rep résen te l ’lhistoire de la Rédemption dans les scènes suivantes: Annonciation, Adoration des Rois Mages, Flagellation, 2 Crucifixion, Ecce Homo, Ascension (mur cud), puis, Adoration des Rois Mages la Cène, V'ir Dolorum (mur nord). Au mur et dans le fond du m a ître -a u te l se trouve la scène du Jugement dernier. La scène des Péchés Capitaux e t la peinture de St. Cristophe s’apparentent de loin à la base thématique générale. Les tra v a u x de conservation consistaient dans le détachement des couches de crépi e t d u blanc de chaux de la peinture, dans les trav au x d e conservation eux-mêmes et dans la restitution de son ca ractère primordial. Les m an ques du crépi é ta ie n t remplies de mortier calco- -sableux e t les p erte s en polychromie é taien t pointées d’une raie verticale p a r des pigments en poudre à base du lian t du polyacétate de vinyle. On s’est abstenu de po in te r les fragments contestables au point de vue de leur couleur ou dessin. Les crépis se d é ta ch an t du m u r ont été fixés à l’aide d’injections d’une dispersion du polyacétate de vinyle. La polychromie est étendue su r un crépi dur, peu corrosif. Elle est effectuée à base du 'blanc de chaux humide en appliquant probablement la technique calcaire avec addition minime du liant organique. On p eu t discerner dans la couche du crépi des lignes d ’intersection qui perme ttent d’attester que les tr a vaux de pein tu re ont été exécutés à la journée. Au dessus de la polychromie on remarque une tram e en brique avec des joints recouverts de couleur blanche. Au cours de trav au x on a dévoilé des niches maçonnées dans les murs e t les arcs, ainsi q u ’une dizaine de marques su r pierres. On a enlevé le retable du m a ître -au te l e t deux épitaphes du XlX-me siècle. À la voûte, deux voussures ont conservé des fragments de la polychromie du XVII-me siècle et le re s te des surfaces a été recouvert d‘une couleur u n iforme. En ré su lta t de trav a u x de conservation, la documentation suivante fu t établie: relevé des t r a vaux, dessins illu s tran t l ’é ta t de conservation à l ’échelle 1:1, photos e t essais techniques de laboratoire. Les trav au x fu re n t effectués p a r M. Joseph Furdyna et M. Jacques Radołowicz en été 1964. La polychromie découverte à Bejsce présente une oeuvre d ’a rt de plus grande valeur a p p a rten a n t au décor gothique des in té rieu rs religieux en Pologne.

14

Identyfikacja pigmentów polichromii we wnętrzach kamienicy nr 43 na Starym Rynku w Poznaniu

51%

Filipiak M.

Ochrona Zabytków

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2015

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issue 2

171-183

EN

The article presents results of research of wall paintings located in a fifteenth-century tenement house in the Old Market Square, in Poznań. Almost 60 small fragments of polychromes were analised using methods of: optical microscopy, spectral analysis and observation in micro-area (SEM-EDS), infrared imaging technique (FTIR-ATR) and Raman microspectroscopy. Following pigments were identified: lead minium, red ocher, massicot, yellow ocher, malachite, azurite, chalk, charcoal (beech), vine black and lamp black.

15

Dekoracja malarska na sklepieniu kolegiaty pułtuskiej : odkrycie, konserwacja, rozwiązanie artystyczno-estetyczne

51%

Stawicki S.

Ochrona Zabytków

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2002

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issue 3-4

326-338

EN

The painted decoration embellishing the vault of the collegiate church in Pułtusk is one of the largest in Poland and totals about 700 sq. metres without the frieze (composed of architectural niches), which constitutes the lower part of the vault supported directly by northern and southern abutments. The polychrome was executed after 1551, the year of signing a contract with Master Wojciech of Warsaw. The vault polychrome assumed the form of stylised rosettes, fleurons and portrait-heads, inserted into the architectural-decorative configuration of the vault, which constitutes a net made of the alternate onion-shaped and circular forms, creating the so-called Pułtusk vault. After a fire in 1613, the interior of the church, including the vault, was painted over in a uniform colour, probably imitating the firmament. During the almost 300 years-long history of the church, the vault was frequently painted over in a single hue for aesthetic and hygienic reasons. The same purpose, which was to be realised in 1994, led to the discovery of the polychrome, first mentioned already in the seventeenth century. Routine research preceding the intended painting of the church interior confirmed the existence of polychrome decorations on the vault and, as could be assumed from initial work, also on the frieze. The discovery and ensuing conservation were accompanied by considerable interest on the part of the mass media, especially the press. Numerous widely read journals and popular scientific periodicals quoted characteristic comments and accounts from assorted communiques and newspaper notes. The value of those statements and their editorial form leave much to be desired, although they reflect concern for the historical monument and a readiness to stimulate interest in the fate of national culture. The disclosure and conservation of the painted decoration in Pułtusk constituted a serious effort of conservators of art. Suffice to emphasise that almost 3 cubic metres of six to nine assorted worthless layers of paint and lime whitening were removed in the course of uncovering the original polychrome. The conception and realisation of the best possible artistic-aesthetic solution posed a separate problem associated with work after routine technical operations. The state of the preservation of the polychrome and the character of the interior of the collegiate church, as well as its historical value and tourist assets imposed a solution (retouching and the reconstruction of the missing parts of the polychrome) which rendered the painted decoration legible, at the same time preserving its authentic ideological, stylistic and artistic character.

16

Dzieje konserwacji malowideł w cerkwi pw. św. Onufrego w Posadzie Rybotyckiej

51%

Gronek A.

Ochrona Zabytków

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2009

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issue 4

5-16

EN

In May 1966 the conservation workshop of the Museum of Folk Architecture in Sanok under the guidance of Wojciech Kurpik started to examine the recently discovered Ruthenian paintings in the Venerable Onuphrius Orthodox Church in Posada Rybotycka. Uncovering and conservation works were continued in the summer of 1966 and in the autumn of 1967. Large parts of paintings were uncovered, the composition scheme was identified, the technique was determined as a mixed fresco 6c tempera technique, and even the paintings time of creation (16th century) was identified. Traces of two major renovations were also discovered. Significant stylistic differences between paintings in the presbytery and in the aisle were noticed. It was determined that, apart from mechanical reasons, the main causes of destruction of the paintings were the humidification of walls caused by the destruction of the roof and the use of organic binder, which had been decomposed by microorganisms and the powdered paint had dropped off the primer. The discovery and identification of inscriptions scratched in plaster on the vestibule walls was a matter of key importance. These are mainly names and year dates, e.g. the oldest dates: 1501 and 1506, which suggest that the time of erection of the Orthodox church should be shifted at least to the 15th century. At the same time, archaeological research was carried out around the church and in the church hill, and anthropological research was carried out at the church cemetery. Wojciech Kurpik finished his work in October 1967 and further research was to lie continued by the Historic Object Conservation Workshop in Krakow under the direction of Władysław Zalewski; however, documents contain no records that would prove the undertaking of any further polychrome- -related works. In 1977 the Orthodox church was taken over by the District Museum in Przemyśl. In the years 1983-1985 conservation works were carried out by Plastyka, a Warsaw-based company, under the direction of Małgorzata Wesołowska-Nowosielska. At that time, polychrome was uncovered, partly cleaned and secured in the entire church; the missing plaster was supplemented with lime mortar in the presbytery, and lime 6c sand trims were installed in the aisle. In 1884 Dr Janusz Lehmann carried out stratigraphie and laboratory research. The structure, mineral and chemical constitution of the plaster layer, which paint layers were placed on, is similar to those used in Europe in Renaissance times, but the technique is consistent with the late Byzantine tradition and paintings of south-eastern Orthodox Europe. In 1986 Małgorzata Wesołowska-Nowosielska included results of conservation works in her doctoral dissertation presented at the Academy of bine Arts in Warsaw. The paintings did not constitute the primary decoration of the church interior. The walls were originally covered with a double layer of zinc white, which was only later covered with polychrome. The same original plaster covers all church walls, the vault and both sides of the templon, which indicates that it had been present since the very beginning. The mineral composition ol the plaster is not consistent with the tradition of Byzantine- -Ruthenian painting. This means that craftsmen laying the brown coat represented local techniques rather than eastern or southern techniques. Conservation works were continued in the years 1986-1988 under the direction of Barbara Kaniewska. At that time, frescos in the presbytery were cleaned thoroughly, cement 6c lime patches were removed, and the missing plaster was supplemented. Finally, retouching works were performed for consolidation purposes. Conservation works were closed in 1991, when Józef Steciriski completed the protection of painting residues over the church vestibule. Additionally, the passage leading from the inside of the main church aisle was reconstructed and stone stairs leading to it from the outside were demolished. Uncovering and conservation works that were finished towards the end of the 1980s were not continued later. Scaffolds in the aisle are the only things left of them.

17

“The path to God”. Francisco de Herrera the Elder’s wall paintings in the Franciscan Church of St. Bonaventure in Seville

38%

Witko A.

Folia Historica Cracoviensia

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2016

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vol. 22

579-599

EN

In 1626–1627 Francisco Herrera the Older, back then Seville’s most renowned painter, decorated the walls of the local Franciscan St. Bonaventure’s church with a number of wall paintings dedicated to Franciscan history and spirituality, complemented with emblems related to theological works of the temple’s patron-saint. The paintings became the basis of an interesting iconographic programme with a strong theological and pedagogical message, due to the presence of young monks educated in the monastery, attributed to two notable Friars Minor: Luis de Rebolledo and Damián de Lugones. The collection, based on the works by St. Bonaventure, presented first and foremost the path to sanctity by acquiring wisdom: from philosophical knowledge through theology to mystic contemplation, in which we learn about and unite with God.

PL

W latach 1626–1627 Francisco de Herrera St., najpopularniejszy wówczas malarz działający w Sewilli, pokrył ściany tamtejszego kościoła Franciszkanów pw. św. Bonawentury zbiorem malowideł poświęconych historii i duchowości franciszkańskiej, dopełnionych emblematami odnoszącymi się do twórczości teologicznej patrona świątyni. Malowidła te stanowiły podstawę ciekawego programu ikonograficznego o silnej wymowie teologiczno-pedagogicznej, ze względu na kształcących się w tamtejszym klasztorze młodych zakonników, a wiązanego z nazwiskami dwóch wybitnych Braci Mniejszych: Luisa de Rebolledo i Damiána de Lugones. Zbiór ten, bazując na pismach św. Bonawentury, ukazywał przede wszystkim drogę do świętości, wiodącą poprzez zdobywanie mądrości: od wiedzy filozoficznej, poprzez teologię, aż po kontemplację mistyczną, w której poznajemy Boga i jednoczymy się z Nim.

18

Prace konserwatorskie w województwie krośnieńskim w latach 1991-1994

32%

Łopatkiewicz P.

Ochrona Zabytków

|

1996

|

issue 2

207-215

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“The path to God”. Francisco de Herrera the Elder’s wall paintings in the Franciscan Church of St. Bonaventure in Seville

Prace konserwatorskie w województwie krośnieńskim w latach 1991-1994