Telšių šv. Antano Paduviečio katedros didžiojo altoriaus restauravimo darbai

LTStraipsnio objektas „Altorius - svarbiausias bažnyčios įrangos objektas tiek liturgijos ir erdvės simbolikos, tiek estetikos požiūriu, “ - rašė prof. Aleksandra Aleksandravičiūtė 2006 metais publikuotame straipsnyje „Altorių problemų tyrimų gairės. XVII-XIX a. Užnemunės bažnyčių retabulai“. Pastaraisiais metais kartu su bažnyčiose vykdomais tvarkybos darbais padaugėjo ir restauruojamų altorių. Šie darbai teikia daug žinių apie kuriant altorius, juos dekoruojant taikytas technologijas bei naudotas medžiagas, t. y. senuosius amatus, skulptorių meistrystę ir atlikimo stilistikos ypatumus. Tikslas - supažindinti su tuo, kiek skirtingų sričių specialistų kantraus darbo, darnaus bendradarbiavimo pareikalauja altorių restauravimas, apžvelgti su kokiais iššūkiais restauravimo darbų metu susiduria specialistai, iliustruojant juos patirtimi, įgyta 2016-2018 metais dirbant Telšių Šv. Antano Paduviečio katedroje. [Iš leidinio]

ENIn recent years, along with the maintenance work carried out in the churches, the number of altars to be restored has also increased. These works provide a lot of knowledge about the technologies used in the design of the altars, their decoration and the materials used, i. e. ancient crafts, sculptural mastery and peculiarities of performance stylistics. The aim of the article is to acquaint with the number of patient work and harmonious cooperation of specialists in different fields required for the restoration of altars, to review the challenges faced by specialists during the restoration work, illustrating the experience gained while working in the Cathedral of St. Anthony of Padua, Telšiai, built in 1765. Its style is late baroque and classicism. The Cathedral differs from other Lithuanian churches by its unique interior design: on the second floor level, it has a large gallery, supported by massive pillars connected by arches. There are side altars and a pulpit next to the pillars on the ground floor. The central altar of the second floor is dedicated to one of the greatest saints of Franciscans - St. Anthony. The picture of St. Anthony is considered as miraculous. The altars of the Great Saints on the first and second floors designed in the 18th century by the sculptor Jesuit Thomas Podhaisky. They seem to unite the presbytery space divided by the gallery into a unified architectural whole and are preserved as a valuable feature of the Cathedral.At the beginning of the altar conservation works, attention was paid to the most deteriorated elements of the object, losses and changes of different periods, some of which occurred during operation from moisture, fires, human activities, including unequal craftsmanship or renovation, when lost or replenished individual parts of the decor were handled. The technology of stucco molding restoration is complex, requiring considerable experience, as the material is applied in several layers of different granulometric composition. The deepest layer, called forming, is mixed with the largest fraction of sand and marble powder. The layers laid on top use an increasingly finer fraction of filler. The last, fourth, rubbing, made from lime and marble flour. Only after assessing each specific damaged place of the decor, the restorer sees how many and what composition layers he will have to lay before restoring the loss and priming the surface with alum. After the preparation of the stucco surfaces, polychrome conservation works took place. The decoration found in the oldest layers of paint, imitating the marble finish and the painted decor fragments have been restored. Once completed, several stages of decoration are currently on display, reflecting the change in surface decoration. [From the publication]