Znaczenie naukowe odkryć malowideł ściennych w Małopolsce południowej

The paper, by the late Hanna Pieńkowska — deceased in 1976, Assistant Professor and former Voivodship Conservator of Historical Monuments in Cracow — was delivered at the 25th Session o f the Historians o f Art, November 1975. The author had recapitulated therein the results o f the work o f conservation service on preserving the murals in the former voivodship of Cracow. At the outset there are discussed the research trends which gave rise to the present postulate for integrated conservation research. The place of prominence is taken therein by research on plasters. Investigations of this kind were carried out on 120 historical monuments situated in the former voivodship o f Cracow, 60 paintings thus revealed having been subject to conservation. The murals found in the Romanesque churches in the countryside refer to the decorations typical then of the fine arts in Austria, Bohemia and Hungary (12th—13 th centuries). In Gothic painting two trends have been singled out : the didactic (precepts o f faith, Biblical scenes) and the folk one. Another fact ascertained was perseverance of the favourite schemes and forms o f painting decoration applied since the mediaeval period till the mid-seventeenth century. The works o f art revealed in the course of the research discussed have brought into relief, both the variety o f artistic stimuli and the wealth o f the source o f inspiration. Moreover, they have enabled as well the study o f the then artistic centres outside Cracow (Tarnów, Olkusz, Nowy Sącz). Last but not least, the conservators’ discoveries made in the course o f conservation research have also provided for determination o f the ’’specialty” o f painting in Little Poland in the following fields : 1. decoration o f the interiors o f wooden churches ; 2. decoration o f manor houses; and 3. decoration of burgher houses. What was o f great significance to the history o f art was the fact of ascertainment o f the authors o f various works o f art, e.g. of Stanisław Samostrzelnik and of the person o f their patrons and founders, like Bishop Tomasz of Płaza. The author goes on to describe in greater detail the discovery o f the murals dating from various periods beginning with the Romanesque one (e.g. those at Tropie — end o f the 11th century, Wysocice — early 13th century). In Gothic painting there are to be singled out the uniform compositions o f interior decoration (Bolechowice, ca 1415), the loosely arranged paintings (e.g. at Olkusz, 14th century) and the polychromy o f architectural monuments (Staniątki, Stary Sącz). The next problem discussed is that o f the discovered Renaissance paintings classed into the respective groups according to their common artistic features. A separate complex make the so-called stencil paintings (e.g. at Dębno Podhalańskie, XV—XVI century) and the great ideological and formal cycles (Łękawica, 1630). Another set make as well the works o f outstanding artists, e.g. those by Stanisław Samostrzelnik (decorations in the Cistercian Church at Mogiła, 16th century) and paintings in minor interiors (polychromy in the chapel o f the church at Niepołomice, 1596) or decoration o f the burger houses in Cracow, Tarnów and Stary Sącz). The author mentions as well such sets as the Passion o f Christ, and those o f the Virgin Mary, linking on Gothic traditions (Racławice Olkuskie, mid-seventeenth century). The 17th century decorations o f castles, palaces, manorhouses and various interiors in town, dating from the 17th-century and continued in the 19th (Tęgoborze, Zator) are also described. The author concludes her paper in the statement that the number of subjects waiting for more detailed examination is simply enormous and the wealth o f the material disclosed in the course o f the said conservation research in Little Poland makes it possible for work o f synthetic character to be taken up.