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1

Konserwacja renesansowych sgraffit z Zagrodna

100%

Stec M.

Ochrona Zabytków

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1992

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issue 3

127-138

EN

In 1977 a method of transferring sgraffiti was proposed and an experimental, fully successful operation was executed. The effectiveness of the newly introduced method was confirmed by a large scale (33 sq. metres) transfer of a sgraffito from the south elevation of the manorhouse in Zagrodno. In 1567 all four elevations of the edifice and the free standing tower were covered with such sgraffiti. In the eighteenth century the manorhouse was expanded and the sgraffiti were covered with plaster. The considerable damage of the manorhouse and the collapse of the roofs and ceilings endangered also the valuable sgraffiti. It was decided, therefore, to transfer them onto a new base and to display them in the nearby Regional Museum in Chojnow. The state of the preservation and causes of the domage were thoroughly examined, and the results were of essential importance for selecting the technique and technology of the transfer. The sgraffito was disclosed under the plaster and structurally reinforced by numerous impregnations with limewater. A face composed of several layers of resins of polyoctane of vinyl and a single layer of cotton gauze were applied. This protection was sufficient for retaining the plasticity of the surface, while its transparency made it possible to assure permanent control during the d ifficult process of removing the sgraffito from the wall. Fragments of the sgraffito were treated on the underside, fixed and covered with putty together with two layers of cotton gauze. After the preparation of the intervention layer (styropian plates), the sgraffito was glued onto a specially made base, laminated with epidian. After the removal of the face, putty was placed in the gaps. A detailed study of the techniques and technology of the sgraffiti improved the knowledge about this type of wall decoration. The deiphering and examination of the sgraffiti from the point of view of their iconography (by J. Janus) make it possible to declare that they are a work of high artistic merit, and that the richness of their contents testifies to the sophisticated taste of the people who commissioned them. (translated by A. Rodzińska-Chojnowska)

2

Metoda przenoszenia sgraffit na przykładzie fragmentu sgraffita z Zagrodna

100%

Stec M.

Ochrona Zabytków

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1982

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issue 1-2

90-97

EN

A vast number of sgraffitoes got destroyed due to a lack of the method to transfer them on a new base. Attempts were made to employ a distacco method, widely used to transfer paintings. However, this method appeared improper and unsuitable in the case of sgraffitoes. A fundamental problem lies in a rough texture of sgraffito and plasticity of its surface. An insulating layer and putty were introduced for facing. The use of an insulating layer made it possible to remove safely protections, while putty guaranteed the maitaining of surface’s plasticity during the treatment. As it was necessary to introduce an insulating layer a difficulty had also to be overcome of tight bonding of a watersoluble adhesive with an adhesive soluble with organic solvents. It is generalny known that there is no adhesion between such adhesive agents. The method was tested on an original object by transferring a detail (167X112 cm) of a Renaissance sgraffito in Zagrodno, Legnica voivodship. The transfer made is 1,5 cm in width, which will allow its location in the original place and the levelling of the remaining sgraffitoes with the surface. Because a photogrametric method registering in three dimensions is not suitable for sgraffitoes for technical reasons, the method of documenting sgraffitoes was also discussed. Silicon resin was used for that purpose, with a cast of sgraffito and then an X-ray photo recording three dimensions being prepared. To document uneven creased surface a technique of the allocation of isobates, used in cartography, was employed. This alllows to draw contour lines informing of irregularities in relation to the even surface. The said method ensures a safe transfer of sgraffitoes. It may also be applied to transfer reliefs, uneven plasters and stucco works. When working this technique out, the simplest, generally available conservation materials were taken into account.

3

Odkrycie i konserwacja malowideł ściennych w kościele św. Marcina w Jaworze

100%

Stec M.

Ochrona Zabytków

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1987

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issue 4

277-283

EN

The present article is of a controversial nature. It concerns aesthetic activities associated with the conservation of mural paintings discovered in St Martin’s Church in Jawor in the Silesia. The attitude of a monuments conservator to the original painting layer depends on basic problems in the field of ethics and aesthetics of this profession. This is not a new problem, but it is always solved with some impact on part of aesthetic opinions. The respect for the original parts is in contradiction to the requirements that uncovered paintings should be comprehensible to the recipients. An important element is also to make the original colouring concept of the painting understandable as well. These questions are also covered by conservation discussion. The paintings date back to the turn of the 15th and 16th centuries. Their main theme is a stylized, rich in leaves, plant twigs’ motif. They used to cover a presbytery’s vaulting. In the 16th century the paintings were covered with a white layer of repainting. Studies carried out by Cracow’s Academy of Fine Arts, Department of Monuments’ Conservation, have specified the colouring and identified all pigments. It has been agreed that a subtle decorative arrangement exposed constructional elements of vaultings and it treated separately the fields between ribs. This is a consistent colouring concept, arranging the vaulting space in a medieval church. The discovery of paintings has resulted in their full exposure from under repaintings. At the same time it has been found out that quite a big part has been ruined. A conservation programme has clearly specified the need to make up the fnissing parts of plant twigs In order to obtain an artistic antity of a Gothic zone of vaultings. Still, major changes that took place in the colour of green and red under the effect of a lime layer of repainting have not been taken into consideration. The programme of "making up the painting in accordance with the exisiting colouring” has become controversial. Though the reconstruction of the outline did not pose any difficulties just as the preserved vestige allowed it despite a dissociation of pigment, still a colour arrangement obtained during reconstruction has been totally different from the original. Only after putting down the scaffolding, when it was possible to assess the results of the work from a distance of 15 m. on a scale comparable with the architecture of the interior, a controversial effect of the work done could be seen. The author presents a report of the discussions that followed it. It is not possible to give full argumentation of this polemics. The result of this discussion was a decision on the reconstruction of the original colouring. The author raises however some other doubts. The case is that undertints of green and red were neglected during the reconstruction, which deprived reconstructed ornaments of their artistic appearance. The author points out that he is aware of controversies found between the uncovered parts of the original and two concepts of the reconstruction of paintings. The basic question that flows from the present considerations is: ,,To what degree should the doubts of a conservator be visible to the visitors? Where is a borderline with regard to interpretation? In what way can a conservator restoring the painting express his view in the object which is the subject of his work?

4

Konserwacja sgraffit i wykusza kamienicy "Pod Przepiórczym Koszem" w Legnicy

100%

Stec M.

Ochrona Zabytków

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1996

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issue 3

313-323

EN

The most distinctive sgraffito decoration in Poland is found on the elevation of a house known as „Under the Quail Nest” in Legnica. The sgraffito in question was added into the elevation when the building was repaired in about the middle of the 16th century. The present-day state of the sgraffito is the outcome of three various conservation undertalkings, which means that we deal with four chronological layers: the original sgraffito from the middle of the 16th century, the supplementation from 1909, the year of restoration, new fragments made in 1971 during conservation and restoration, and, finally, supplementation carried out in 1993 in the course of the last conservation and restoration. At the end of the 18 th century or at the beginning of the 19th century the sgraffito decoration was covered by plaster and remained invisible and unknown for about hundred years. Conservation conducted at the beginning of our century recreated considerable parts of the most damaged sgraffito according to the then prevailing opinions i.e. by resorting to drawings — tracings of the pertinent fragments. The conservation performed in 1993 entailed cleaning the surface of the sgraffito, the liquidation of damaged joints and the supplementation of gaps. New bindings were applied after the completion of the work. The last operation involved infusing the whole surface with a hydrophobic substance. The stabilization of the sgraffito mortar was carried out by means of the injection method. In several spots the damaged joints were eliminated by applying the stucco technique used for transferring murals. As a rule, conservation was dictated by the unsatisfactory preservation of an object which, however, can be insufficiently legible. This was the case of the corner bay of the house in Legnica, whose actual condition became obvious after cleaning and the removal of loosened putties. This procedure disclosed the considerable threat to the construction. It now became necessary to take the bay apart, to conduct appropriate construction work and then to put the bay together again. The first of the three procedures entailed the transference of the sgraffito. This operation had to take into consideration the inclination of the sgraffito and the retention of the plastic qualities of the surface. The face was secured and the brick foundation was taken apart. After the completion of the construction, the sgraffito was replaced and the facing removed. The whole operation of the transference and the replacement of the sgraffito did not cause additional damage. Following conservation, the bay regained its earlier lightness and became an element which considerably enhanced the decorative merits of the house. The conservation of the sgraffito and masonry of the „Under the Quail Nest” house required the employment of numerous conservation techniques as well as technical and organizational solutions. Their realization was based on earlier conservation documents — written, photographic and published.

5

Problemy konserwacji wczesnośredniowiecznych reliktów gipsowych

63%

Zalewski W., Stec M.

Ochrona Zabytków

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1995

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issue 1

54-59

EN

The paper deals with conservation problems caused by early mediaeval antiquities composed of anhydrous gypsum plaster, a material often applied during this period in Polish and German territories. Our experiences are based on the conservation in situ of two objects. The first is an engraved surface of a floor in the crypt of the collegiate church in Wiślica (the region of Kielce). The middle part of the floor depicts Piast princes, symbolic animals and ornaments, and dates from the years 1170-1177. The second object is a tomb plate from ca. 1000, situated under the northern aisle of the cathedral in Gniezno; the extant three-quarters of the object are covered with an engraved inscription (Carolingian minuscule). Both monuments were discovered in 1959-1960 during excavations carried out as part of activities commemorating the millennium of the Polish state; the work was conducted by a Research Team on Mediaeval Poland (Wiślica) and the Management of Research into the Beginnings of the Polish State (Gniezno). A similar technique was applied in both cases; the two objects share a similar history prior to and following their discovery in the course of archeological excavations. Owing to their destruction and state of preservation they require highly untypical conservation. The negative aftermath of previous restoration forced the programme selected by the authors to take into consideration the hazards posed by excessive humidity and opt for the application of other conservation material. As a result, fundamental conservation was performed by using solely natural gypsum derivatives. Work in Wiślica and Gniezno was carried out in 1982-1987 and 1990, respectively.

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Konserwacja renesansowych sgraffit z Zagrodna

Metoda przenoszenia sgraffit na przykładzie fragmentu sgraffita z Zagrodna

Odkrycie i konserwacja malowideł ściennych w kościele św. Marcina w Jaworze

Konserwacja sgraffit i wykusza kamienicy "Pod Przepiórczym Koszem" w Legnicy

Problemy konserwacji wczesnośredniowiecznych reliktów gipsowych