Vilniaus Bernardinų bažnyčios Sokalio Dievo Motinos altoriaus technologiniai tyrimai ir restauravimo sprendiniai

LTStraipsnyje pristatomi Vilniaus Šv. Pranciškaus Asyžiečio ir Šv. Bernardino Sieniečio (Bernardinų) bažnyčiai priklausančio Sokalio Dievo Motinos altoriaus technologiniai tyrimai ir restauravimo sprendiniai. Aprašoma kritiška altoriaus būklė prieš restauravimą; glaustai supažindinama su atliktais polichromijos technikos, grunto, pigmentų bei metalinių dangų cheminiais tyrimais. Pristatomas spalvinis altoriaus rekonstrukcijos projektas; aptariamos restauravimo užduotys ir problemos. Remiantis technologinių ir istorinių tyrimų duomenimis, keliamos naujos prielaidos apie altoriaus statybos istoriją, patikslinamas datavimas. [Iš leidinio]Reikšminiai žodžiai: Šv. Pranciškaus Asyžiečio ir šv. Bernardino Sieniečio (Bernardinų) bažnyčia; Altorius; Polichromija; Technologiniai ir cheminiai tyrimai; Restauravimas; Church of St Francis of Assisi and St Bernardino of Siena (Bernardines); Altar; Polychrome; Technological and chemical analysis; Conservation.

ENIn 2016, the Monument Preservation Department of the Vilnius Academy of Arts started technological research and conservation works on the altar of Our Lady of Sokal. The condition of the altar and its polychrome sculptures was assessed. In order to establish the creation technology, the chemical (microchemical, stratigraphic, FTIR, SEM/EDX) and polychrome analysis of the paint was performed. The obtained results allowed describing the structure of the altar and polychrome sculptures, painting materials and previous conservations in great detail, as well as preparing a retrospective colour-scale project of the altar and its sculptural décor (ill. 11). Referring to the data of technological and historical research, new assumptions about the history of the altar construction were advanced and the dating was specified. The analysis revealed that the present altar of Our Lady of Sokal was furnished in 1887, and might have undergone minor reconstructions in 1889, which were intended to adapt it for the painting of Our Lady of the Sapiehas transferred from the Church of St Michael. In 1912, when the above-mentioned painting was returned to the Church of St Michael, the altar was renewed once again. Since that time, its first tier contained a painting representing St Francis receiving the Portiuncula indulgence, and the second tier held the image of Our Lady of Sokal. The sculptures of St Dominic and St Angelo of Sicily stood at the sides between the pillars.In its primary shape, the wooden altar was covered with polychrome imitating pink and bluish marble, the pillar capitals were silvered and glazed, and the putti were painted white, and their draperies and wings were gilded; the body parts of the angels (4, 6, 7, 12) were later renovated several times (at first by giving a pink shade to the body parts of the sculptures, and then repainting them white). The top layer of paint on the sculptures and altar – oil ground covered with brown oil lacquer imitating the colour and structure of wood – has the same structure, which means that the altar with its entire décor was given an overall paint only once. The analysis of the structure of paint allowed us to make a conclusion that some of the angels were created earlier than the altar itself, and some of them may have decorated the brick altar of Our Lady of Sokal built in 1844, or may have been transferred from other dismantled altars of the church. Some figures of the angels might have been transferred there at the turn of the 19th and 20th centuries from the altar of Our Lady of Budslau, which was built in the middle of the 19th century but was no longer mentioned in the church documents in the early 20th century. At the present time, only a part of the sculptural décor of the altar of Our Lady of Sokal has been restored, and a project for the altar conservation has been prepared. [From the publication]

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