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1

Od Redakcji

100%

Ochrona Zabytków

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1984

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issue 4

231-232

EN

Although we tr y avoid monothematic editions, which might be monotonous, we have made an exception to the rule in the belief that the scientific conference on the Problems of the Conservation of the Racławice Panorama, organised by the Wroclaw Section of the State Ateliers for Conservation of Cultural Property on 27—28 April, 1984, merits special attention. A body of over two hundred of the most outstanding Polish coTtservators of art took part in the meeting which abounded with presentations and discussions supplemented with a film show featuring the history of the Panorama and its conservation. We have decided to publish all the presentations for the following reasons: Firstly, to pay respect to the team ,of young conservators from Wroclaw who took a cool well-balanced decision on the choice of the best technology and conservation agents and then performed a tremendous job with panache. All the members of the conference saw the 1800 m* of the canvas with the conserved oil paintwork. When the present edition reaches our readers, the work ori stencilling of the impaired paintwork and the dimmensional arrangement of the artificial terrain separating the viewer from the canvas will have been completed. The whole object will exert y e t again its artistic and social impact. Secondly, we unshed to show the complexity of modern conservation of the works of art which is truly interdisciplinary in its scope. Had it not been for the co-operation of specialised teams outside of PKZ (the Ateliers for Conservation of Cultural Property), the difficulties ufpuld have been almost insurmountable. Thirdly, by presenting the h istory of the Panorama, and particularly the public contribution to the creation of the picture, its rescue and conservation we wanted to highlight the social phenomenon so encouraging to the conservators of cultural property. Of the people's w ill th ey had a unique chance in their lifetime to undertake a challenging task and perform it successfully. While the state of the monuments of our architecture and building engineering is discussed with apprehension, the concern with the growing social indifference to the preservation of the national cultural inheritance is expressed (the editors do not share this view), the history of the Racławice Panorama gives us a boost. Fourthly, we have selected this theme also to highlight the achievements of the 40 years of the Polish People's Republic in the protection and conservation of the cultural heritage. We believe that the content of this edition reflects not only the fruitful effort of our conservators but also the scope of task they are capable of. Hence not only their achievements as such are presented but also their standing and ability to meet the social demand is divulged. In principle, the te x t of articles is identical with the papers presented at the conference. The reader will find repetitions and other characteristics of an orally delivered text. We think w e owe i t to the authors as well as to the other members of the conference to preserve the authenticity of their presentations keeping them free from editorial doctoring. The General Conservator of Cultural Property offered us the te x t of his statement published in 1983, his share in a broad discussion on the role of cultural heritage in contemporary life. This te x t is printed first although it does not purport to be an introduction nor was it intended as such. Nevertheless we deemed it appropriate to insert, in our special edition, this statement on the role and standing of the protection and conservation of cultural inheritance in Poland.

2

Wzmocnienie wytrzymałości mechanicznej płótna "Panoramy Racławickiej" - dublaż

80%

Wójtowicz R.

Ochrona Zabytków

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1984

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issue 4

269-276

EN

Up to now, in moist cases, the prime purpose of the panorama conservation has been to restore and increase its mechanical strength. Those oases have been presented and compared with the conservation of the Racławice Panorama. The necessity to reinforce almost the entire surface of the picture in a vertical position has been proved. The parts of the reverse which had been mended (seams, glue joints) were additionally strengthened by local reinforcement applied ”wet” (on small surfaces) — adhesive: Lascaux Acryllkleber 498 HV, carrier; ’’fizeldna”. Strips of reinforcing fabric were pasted on 3 metres below the upper edge of the individual segments in a horizontal position. Relatively small deformations occur in that airea. The work was oarrded out on a convex table (9 m X 3,5 m) in a vacuum pocket. The strips of glass fabric measuring 1,10 m in width and 15 m in length were machine coated with Acryllkleber 498 HV so that the adhesive wias evenly spread. The adhesive was reactivated with toluene prior to lamination which took place in a temperature of ca 65°C for 2—3 sec per surface unit. Additionally, the one metre strip below the upper edge of the segments was reinforced with a very strong polyester fabric — „Trevira” which wias pasted on with Acryllkleber 498 HV. The principal reinforcement was carried out when the segments had already been suspended and intergrated into a picture. The method was the same as applied during the local reinforcement in a horizontal position. The facing was held fast by means of laminated panels (2,5 m X 1>2 m), profiled so as to match the desired shape of the picture surface; the panels were mounted on mobile overhead trolleys. The reinforcement was successfully completed in eight weeks (20 people, 1700 m2 of the surface).

3

Społeczne działania na rzecz "Panoramy Racławickiej"

80%

Czerner O.

Ochrona Zabytków

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1984

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issue 4

250-252

EN

The national conistrubultion to the Racławice Panorama appears to be very significant; the people invoked inspiration for its creation and organised various rescue actions in the difficult periods of its history. The author goes back to the time when the national appreciation of the victorious battle of Racławice was felt to be capable of upholding the patriotic spirit of the nation and for thiis reason it was decided to finance the Panorama. He presents several cases when this national monument was rescued but he highlights social actions after April 1944 when the pavilion in Lvov was destroyed, the painting damaged, rolled up, stared and eventually taken to Wrocław. Attention is drawn to the fact that it was only the activities of the last Racławice Panorama Social Committee — widely supported by the Polish people at home and abroad, assisted and highly appreciated in respect of their significance by the authorities — that seem to have contributed successfully to the saving of the Racławice Panorama and to making it available to the public again.

4

Sposób zawieszania i łączenia brytów "Panoramy Racławickiej"

80%

Ilkosz J.

Ochrona Zabytków

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1984

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issue 4

276-285

EN

The suspension of the segments, partially restored and reinforced in a horizontal position, constituted a specific problem in the conservation of the Racławice Panorama. The suspension level of a panorama is determined by technical parametres of the presentation of this kind and it also depends on the height and diameter of the viewing platform and on the ’’umbrella” confining the field of viewing. This interdependence results from the panorama painting method and the use of panoramic perspective. Hence the suspension level of the painting is conditioned by the level of the painted horizon. Thus it is essential to locate the line of the horizon in the picture before the preparation for the segment suspension can begin. This proved to be particularly important in case of the Racławice Panorama due to the circumstances in which the Panorama had been diismantelled in Lvov (the war period) and the absence of the measurements of its original display. A survey of the archival material yielded only two parametres of the Lvovfiian Rotunda, the viewing distance — ca 11 m and the level of the canvas suspension — 14,99 m. The designer of the Wrocław Rotunda set the height of the viewing platform at 4,67 m. With reference to the archival evidence and other structures of this type, the conservation team assumed that the viewing platform should be lower by, at least, 0,5 m. Thus the suspension level of the Racławice Panorama had to be reconciled wfith the technical requirements imposed by the Wrocław Rotunda. This problem could only be solved by the correct location of the horizon in the picture. This became a controversial issue among the specialists due to the incomprehension of principles that govern the panoramic perspective. Eventually, on 22 May 1982, a consensus view was agreed to assume that the horizon of the Racławice Panorama ran along the chimney top of the cottage depicted in segment No. 1. The horizon being established, it was necessary to fix the line of suspension on the segments and the true vertical of the segments. It was impossible to fix the true vertical with a theodolite because the actual gravitation vertical did not correspond to the mean of the vertical axes of the deformed segments. The mean value of the half of the segment’s widths measured every 1 metre along its length was taken as the vertical axis of the segment. When the aforementioned axes had thus been calculated it was reckoned that the measuring error might be big enough to make correct suspension impossible. Therefore, every three segments were juxtaposed in turn, facing upwards, so that the horizon geometrically delineated on the reverse was in line and only then joined edges of the segments were examined for the correctness of the picture detail. The Racławice Panorama had to be suspended in such a fashion as to preserve the natural hyperboloidal shape. The method applied in the 19th century could not be considered because it involved joining of segments in a horizontal position. The suspension system used by G. A. Berger in Atlanta seemed to be the most appropriate and it served, in some respects, as a model for the Panorama. The suspension support structure consisted of two circular- shaped rails upon which mobile trolleys were installed, equipped with an eccentric (facilitating the correction of the panorama perimeter) and with Roman screws (enabling the vertical correction). Each segment received a metal ’’cornice” — a circular-shaped clamping device consisting of two channel bars lined with oak and fitted out with three grips for the suspension on the Roman screws. The canvas, together with the doubling and reinforcing fabrics, was fed inbetween the two parts of the channel bars which were then screwed together along the preassdgned line on the reverse of the segments. The assembly of the carrier rail and juxtapositkming of the segments before suspension were carried out on the inclined convex former, so called ’’start” former-designed and made by the Ateliers for the Conservation of the Racławice Panorama. In result the segments acquired a concave shape when they were hauled up. The hauling up system was very simple and it comprised two pulling devices, anchored on the upper gallery (encircling the top edge of the canvas), which released steel cables through pulleys to the grips on the ’’cornice”. A canvas ’’apron” was stretched between the gallery and the ’’start” former alongside which the segments were pulled up. The ’’apron” prevented the original canvas from taking folds and gave support during the suspending operation when considerable tensionR could occur. The next stage involved joining the panorama segments into a complete picture. Because of the hyperboloidal shape of the painting, consecutive joining of the successive segments was impossible; it was necessary to bring the edges of all the segments together 'Simultaneously. Around the supporting rail, 5 cm away from the picture’s back, elastic metal strips (15 m long) were attached every two metres (later on they were to support fire protection facilities). At the bottom they were enclosed in a steel hoop, and where the segments were at their narrowest, the strips were fitted with ’’ears” through which a steel cable was pulled. The ends of the cable were fed into the hand-operated pulling device by means of which the perimeter of thus installed cable could be reduced. The resulting structure of hyperboloidal ribs forced the canvas into the same shape making the edges of the se gments come together. The permanent joint was obtained by stitching the edges of the contacting segments; the seams were additionally reinforced with ’’fizelina” pasted on with Arcylkleber 498 HV. Afterwards the contracting cable was released and a hoop wias installed at the bottom of the picture to give the Panorama a circular shape and to weight it. This hoop was attached with a rope to the steel wire running through the fold at the bottom edge of the canvas so that the canvas could be pulled up and down. The perimeter of the hoop was increased to give the canvas the maximum tightness.

5

Budowa techniczna i technologia obrazu "Panorama Racławicka"

80%

Regulińska M.

Ochrona Zabytków

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1984

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issue 4

252-256

EN

The canviais of the Racławice Panorama comprdises fourteen segments sewn together along the edges; ait the top it is suspended from a closed hoop of comices, at the bottom it is enclosed and weighted with a circular rail. The canvas, owing to its own weight, stretches vertically and at the same time it shrinks horizontally. The working of the canvas checked by the top and bottom hoops results in the phenomenon of a cylinder contracted in its middle part — and thus the canvas takes the shape of a circular hyperboloid. The canvas of the Racławice Panorama is made from linen yarn which is reinforced due to the specific working of the canvas. It has a starch finish, is saturated wtifh gluten glue, coated with a double layer of primer based on poppy oil. Poppy oil was also used, along with pigments, as a binder in the paintwork. The outline of the picture was made in charcoal on a numbered metric net. The picture, painted mainly ’’alla prima” with impastos was not oroginally varnished. The state of preservation of the segments varied. In general, the strength of the canvas could be considered as good which was confirmed by the tests carried out on the tensile testing machine. The microbiological examination revealed the presence of several fungi. The primer and paint coats showed, in some places, poor adhesion to the canvas. All in all, about 20—215% of the surface was impaired; however, on the segments No. 2 and 3 the deterioration of the sky area reached 75%. The sky was repainted and varnished. The reological tests proved that the canvas could be exposed to the temperatures not exceeding 50—65 at loading below 0,5 kg and no longer than 2 minutes. The oanvas of the Racławice Panorama, prior to the recent conservation was protected on the face with a layer of a Japanese tissue paper and gauze (’’merla”) pasted on with wax, or in some places, with a mixture of wax and resin. The segments were rolled up, one on top of the other, on metal cylinder, which resulted in the wax solvent and the wax itself acting as a softening compress on the paintwork. In consequence vulnerability to solvents increased.

6

Przygotowanie tkaniny do restauracji "Panoramy Racławickiej"

80%

Paradowska E.

Ochrona Zabytków

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1984

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issue 4

266-269

EN

The article discusses basic tests carried out on the sample taken from the Panorama in order to design a fabric for patching up mechanical or physical damages to the canvas. The testing method as well as the principle parametres which resulted are presented: weave, mass1, filling of the fabric, linear density, incorporation, the kind of warp and weft (thickness and strand) and the material Used. Also the testing of the reproduced fabric is discussed in detail and the aforementioned parametres are supplemented wiith those of Strength, change of dimension when wet, hygrosoopicity, the angle of crease. It should be mentioned that the research proved that the panorama fabric must meet specific requirements, different from those applied to ordinary fabrics or even to specially designed painting canvases but meant for smaller pictures.. It is so because fabrics used for really large pictures must withstand specific tensions one at variance with another, longitudinal tension produced by the upper suspension and the weighted bottom, and transverse — resulting from the segments being joined crosswise (this causes very strong transverse tensions in a fabric). Resistance to transverse tensions was obtained by using a weft of a particularly strong yarn made of four stranded threads and a warp of a single yarn which was then interwoven in two threads; thus an appropriate density and an even surface of the fabric were achieved. Furthermore the article discusses the parametres and the principles of selection of reinforcing fabric, the fabric used to reinforce the upper parts of the segments (the places of suspension) as well as other textile materials used during conservation such as threads for the patch up, an unwoven fabric (’’fizelina”) for the reinforcement of the seams.

7

Układ funkcjonalny i niektóre elementy technicznego wyposażenia budynku "Panoramy Racławickiej" we Wrocławiu

80%

Dziekoński M.

Ochrona Zabytków

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1984

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issue 4

295-303

EN

The building was designed in an architectural contest held in 1957, in which Ewa and Marek Dziekański won the first award. It consists of several parts. The architecturally dominant Rotunda houses only the Panorama and a viewing platform. Technical and accessory facilities, service areas for visitors, are situated in the Entrance Pavilion and in a few adjacent low structures to eliminate the installations and facilities potentially dangerous to the canvas from its vicinity. The building has been erected on the edge of a central park, in singularly picturesque environs, close to several museums, in an area abounding with architectural monuments. In front of the building there is an entrance yard, at a lower level than the surrounding terrain, constituting an architecturally framed foreground to the building. Before entering the Rotunda, the viewer will be able to get acquainted with the history of the Kościuszko Uprising by means of films and slides, to see a model of the Racławice battleground fitted with audio-visual facilities explaining the course of the battle (4 April, 1794). An entrance tunnel and a spiral ramp take the viewer onto the viewing platform. Viewing will take place in groups, the direction of viewing will be to the left. The Panorama will be accessible to disabled people in wheel- -chairs as well. The commentary will be emitted through loudspeakers in one of six languages offered, other languages will be dealt with by means of hired individual head receivers. The canvas is hanging on fourteen cornices suspended on 42 trolleys. The trolleys are equipped with control devices which operate in three planes perpendicular to one another. The conservation work, and in future the examination of both sides of the canvas, is carried out from the suspended cars. The building is equipped with many sophisticated installations, automatised in most cases, such as adr- -oonditiondLng, acoustic devices, fire-protection facilities etc. In 1981—83 the Rotunda was adapted for the conservation work. Among other things, a scaffolding measuring about 1200 m2 was erected to enable simultaneous unrolling of three segments in horizontal position or on the devices forming the canvas into a desired shape. During the works involving the use of inflammable agents, additional installations were mounted, such as special ventilation, lighting and steering facilities.

8

Koordynacja prac konserwatorskich przy "Panoramie Racławickiej"

80%

Wronowski C.

Ochrona Zabytków

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1984

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issue 4

303-304

EN

Conservation of the canvas measuring 1700 m2 in a building in which contractors of different specialities were performing their jobs required particular coordination to ensure the undisturbed progress of work. The Ateliers for the Conservation of Cultural Property could either do their work in an unfinished building of the Rotunda or work on individual segments on other premises in distant parts of the city. The first alternative was chosen which made it possible to begin conservation at least a year and a half earlier than otherwise. The conservation of the canvas in the unfinished Rotunda involved particular precautions in view of the extensive use of explosion prone solvents. Safety measures included a temporary ventilation system and a special water curtain.

9

Historia "Panoramy Racławickiej" i jej konserwacji

80%

Natusiewicz-Mirer J.

Ochrona Zabytków

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1984

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issue 4

241-249

EN

The genesis of the Racławice Panorama is associated With preparations for the General National Exhibition in Lvov in 1894. The organisees of the exhibition wished to endow their undertaking with a singular patriotic significance. In response Jan Styka proposed to paint the first Polish panorama, depicting the battle of Racławice. His idea was fully approved. The Panorama painted by Jan Styka and Wojciech Kossak (with whom other artist co-operated) became a great attraction at the exhibition. As the Committee for the Panorama Construction encountered constant difficulties with the management of the premises holding the Panorama, it was decided to sell it; eventually the country of Lvov became its owner in 1912. During the First World War the painting was damaged and underwent reconstruction in 1919—1920. In the second half of the twenties the state of preservation of the canvas aroused great concern; on the night of 29—30 Sept., 1927 the canvas partially collapsed. It fell upon the artificial terrain where it broke and was holed. In the period of 1928—1929 the reconstruction and conservation took place and the artificial terrain wias replaced. During the Second World War the Panorama was looked after by the management of the Picture Gallery. On 9th April, 1944 the pavilion housing the Panorama was damaged during the bombardment of Lvov, the structure broke down and the picture partially collapsed, the remainder of the picture was holed in hundred of places. In June 1944 the Panorama was taken to pieces, the canvas was preserved and stared away in the Bernardine convent in Lvov. In July 1946 the Panorama and the Lvovian collection were brought to Wrocław.

10

Program konserwatorski "Panoramy Racławickiej" i proponowane do jego realizacji materiały

70%

Wójtowicz R.

Ochrona Zabytków

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1984

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issue 4

256-266

EN

After the Second World War, in the years 1949—50, 1956—57, 1970—73 attempts were made at the conservation of the Racławice Panorama. None proved to be particularly successful. In 1981 the present Ateliers for the Conservation of the Racławice Panorama began to operate. The Panorama, being a unique work of art, required an altogether new method of conservation. The present programme for iits restoration was worked out and executed by the Ateliers. It was based on the solutions supplied by the author of this article which were supported with extensive cycles of laboratory research. It was proved that the work on the disassembled panorama sould follow three stages: 1. work on the reverse and front surfaces of the individual segments and the preparation for their suspension; 2. suspension of the segments; 3. integration of the segments into a complete picture ’’doubling”, reconstruction of the paintwork. More precisely, the following works were required: cleaning of the reverse, sewing up of craks and tears, patching up holes (torlene threads saturated with Lascaux Acrylemulsion D 498-M; needles and the rest of equipment were surgical); impregnation and disinfection — 2X10% Paraloid B-72 in acetone + 0,3% Raschit (in proportion to the whole solution); removal of the protective layer (Japanese tissue paper pasted with wax) from the surface of the painting; chemical removal of the secondary shellac varnish; smoothing out of the surfaces and local doubling — carrier; synthetic fabric (’’fizelina”), adhesive; Lascaux Acrylkleber 498 HV; facturai application of the putty based on Actylemulsiion D 498-M; vertical and horizontal adjustment of the segments; partial reinforcement; a strip three metre wide below the upper edge of the segments — carrier; glass fabric, adhesive; Acrylkleber 498 HV in a vacuum pocket on a special table (9 m X 3,5 m) at the temperature of 65°C, welding time ca 3 sec per surface unit; reinforcement with the supporting fabric, „Trevira”; suspension of the segments; adjustment of the segments and their permanent integration (into the shape of a circular hyperboloid); reinforcement of the remaining surface in a vertical position — by the analogous method as used in a horizontal position (mobile, suspended setting screens on the facing side); stencilling with acrylic paints made by Lascaux; final varnishing, acrylic — Lascaux Acryltranspaxentlak 575 Matt. When the conservation programme was under preparation it was necessary to resolve the problem of work organisation involving a large team (40 people) which such an unusual work of art required. Good organisation permitted a rapid pace of work whilst its high quality was maintained. At present the conservation work is coming to an end and with very good results, too.

11

Problemy konserwacji panoram

61%

Filipiak S.

Ochrona Zabytków

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1984

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issue 4

235-241

EN

The conservation of panoramas requires a new method allowing for a specific character of this kind of art, technical problems, the use of appropriate conservation agents and the organisation of an unusually large team of specialists in various fields. In recent years only five pictures of this kind have undergone thorough conservation, i.e. the Cyclorama of Gettysburg (1i08X9!,75 m2), the Panorama of Borodino (ca 11'5X 1:5 m), the Panorama of Salzlburg (ca 26 X 5,25 m), the Cyclorama of Atlanta (ca 106X13 m)„ the Panorama of the Versailles Palace and Gardens (ca 58X36 m). Each of these panoramas being in a different state of preservation, among other things, justified the use of totally diverse methods of conservation. All the methods employed so far, due to the scope of such a venture and no reference to the methods used in the conservation of standard pictures, have had no precedents. The problems of the conservation of panoramas, presented in this article relate to the characteristics of a panorama picture which, according to the author, determine the consecutive stages of the conservation work. The experience gathered from the conservation of other panoramas helped to avoid mistakes and to work out a coherent method of the conservation of the Racławice Panorama. Its conservation programme aimed to restore its original artistic entity. As regards the canvas, a three phase programme was adopted. At first the individual segments were initially treated in a horizontal position which made their suspension possible without the total reinforcement. In the second phase, the segments were suspended and in the third, they were merged into a whole picture. In the same position the overall doubling and the reconstruction of the paintwork were carried out. In the course of conservation the moist efficient and up-to-date agents were used, particularly in respect of reversability and age resistance. Since the Racławice Panorama Will be exhibited in a new building in Wrocław, it wais necessary to reconstruct the foreground of the painting reflecting the original Lvovian character of the Staffage. The new design was based on the iconographie and archival evidence. The staffage will match the painting faithfully in appearance and will be its logical extension.

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11 Ochrona Zabytków

2 Wójtowicz R.

1 Czerner O.

1 Dziekoński M.

1 Filipiak S.

1 Ilkosz J.

1 Natusiewicz-Mirer J.

1 Paradowska E.

1 Regulińska M.

1 Wronowski C.

11 1984

Od Redakcji

Wzmocnienie wytrzymałości mechanicznej płótna "Panoramy Racławickiej" - dublaż

Społeczne działania na rzecz "Panoramy Racławickiej"

Sposób zawieszania i łączenia brytów "Panoramy Racławickiej"

Budowa techniczna i technologia obrazu "Panorama Racławicka"

Przygotowanie tkaniny do restauracji "Panoramy Racławickiej"

Układ funkcjonalny i niektóre elementy technicznego wyposażenia budynku "Panoramy Racławickiej" we Wrocławiu

Koordynacja prac konserwatorskich przy "Panoramie Racławickiej"

Historia "Panoramy Racławickiej" i jej konserwacji

Program konserwatorski "Panoramy Racławickiej" i proponowane do jego realizacji materiały

Problemy konserwacji panoram