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Budowa techniczna i technologia obrazu "Panorama Racławicka"

100%

Regulińska M.

Ochrona Zabytków

1984

issue 4

252-256

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.

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1 Ochrona Zabytków

1 Regulińska M.

1 1984

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Budowa techniczna i technologia obrazu "Panorama Racławicka"