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EN
An important conservation measure is the introduction of chemical substances into the stone structure that improve its properties. Various methods are used, depending on the specific conditions and possibilities. The article proposes a new method of saturating stone monuments, with the possibility of obtaining the effect of structural saturation. The method has been tried out successfully and its elaboration broadens the possibilities of conservation of structures in situ.
EN
Factors conducive for the damage of old stone elements are both those of an outside nature (climatic and microclimatic, anthropogenic and biogenic) and internal, connected with the type of stone, its structure and mineral composition. Considerable damage of elements made from the same type of stone, which takes place despite the fact that they are threatened by identical outside factors, is the outcome of differences in the mineral composition, texture, structure and certain properties of the surface (especially the distribution of the sizes of pores) of the employed varieties of stone (e. g. limestone from Pińczow). The results of mineralogical-chemical and petrographie investigations, obtained in recent years, can be applied in suitable prophylactic and conservation as well as in experimental research. Present-day conservation, therefore, calls for the co-operation of representatives of many branches of science.
EN
The aim of the article is to show a developmental line in the conservation of easel paintings derived from craftsmanship through the conservation art to conservation as a branch of science. The answer to the question what methods and what chemical agents were used in the past iis difficult. This difficulty is, in the first place, the result of a small number of source materials that are in our posession. The course of repairs and renewals of such financially and factually insignificant objects as easel paintings was never recorded At the same time the maintenance of professional secrets for a long time still intensified this difficulty. Despite difficulties just mentioned studies on the history of conservation .are continued and ascertain us that without theoretical and practical achievements of our forerunners present attainments of the conservation of works of art would not have been possible.
EN
The article deals with textile monuments extracted in the course of archaeological work from crypts and tombs situated below floors in the churches of the Assumption of the Holy Virgin Mary in Toruń, St. Nicholas in Toruń, St. John in Gdańsk, St. Peter and Paul in Tworków, and the Holy Virgin Mary in Kostrzyn as well as the arch-cathedral of St. John in Lublin. The conservation encompassed 29 fragments of children’s clothes, which comprised part of the outfitting of children’s burials. Select examples of the apparel, preserved in larger fragments, were reconstructed by recreating the original form and shape. The conserved clothes had been sewn specially for the burial ceremony in accordance with the fashion of the time; they are accompanied by clothes worn by children while alive, “death” smocks, and apparel specially made from refashioned daily clothes. The conservation was conducted in the Atelier for the Documentation and Conservation of Archaeological Monuments in the Institutes of Archaeology at the Mikołaj Kopernik University in Toruń. Since the conserved clothes were coagulated, affected by fungi, damaged and dirty, they were first disinfected in a gas chamber by using ethylene oxide. After initial cleaning, the disinfection was repeated by applying a 0,5% solution of m p-chloro-m-cresol in methanol (PCMC). Prior to the cleaning, silk fibres were moistened and rendered flexible by means of a 5% and 10% water solution of PEG 200 or PEG 300. Several days later, the water bath was augmented with Pretepon G, used as a washing agent. One of the dresses and one of the żupans were impregnated (Paraloid B72, polyethylene glycol 300 in methanol and toluene) due to the damaged and weakened silk fibres. The next stage involved duplicating and reconstructing the missing elements of the clothes with acrylic glue 498 HV (Lascaux); in places the fabric was threaded together. Finally, trimmings made out of metal thread were cleaned and protected separately.
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