"Šv. Brunonas. Stebuklas bažnyčioje". Paveikslo iš Vilniaus šv. Pranciškaus Asyžiečio (bernardinų) bažnyčios ankstesnių restauravimų analizė

LTReikšminiai žodžiai: Ankstesni restauravimai; Paveikslai; Paveikslas; Restauracija; Tapyba; Vilniaus šv. Pranciškaus Asyžiečio (bernardinų) bažnyčia; Šv. Brunonas. Stebuklas bažnyčioje; Church of St. Francis of Assisi (Bernardine) in Vilnius; Images; Painting; Picture; Previous restorations; Restoration; St. Bruno. Miracle in the Church.

ENCollections of the Lithuanian Art Museum (LAM) keep (since 1973-1974) the paintings from the 17th-19th c. which hung in the Church of St Francis of Assisi (Bernardine) in Vilnius (closed in 1954). This cycle of 20 non-altar pieces features the images of saints, their lifes, miracles and episodes from the life of the Bernardines and their activities in the Republic of the Two Nations. They vividly reflect the directions of pastoral work of the monastery, forms of piety and the continuity of spiritual tradition. This cycle of paintings was formed between the mid-17th c. - late-19th c. and should be considered as almost unique, having a great historical, iconographic and artistic value, because it is the only, at least partly to survive and reach our days cycle of monastery paintings, from among a great number of others which have not survived (when in the late-19th c. the tsarist authorities closed down monasteries, the paintings were distributed to parish churches and the fate of not all of them is known) or survived only fragmentally.The collections of the LAM also keep other paintings from the Bernardine Church in Vilnius. The LAM’s Pranas Gudynas Restoration Center is restoring (since 2004) the first large-scale (283 x 281.5) painting from the Church of St Francis of Assisi (Bernardine) in Vilnius St Bruno. Miracle in the Church (Ap. 9152 T 10117). On the basis of an art historical, chemical, physical analysis and visual observations, this article concerns with the history of the painting, accentuating the variety, steadiness and expediency of the employed materials at previous restorations, drawing attention to the materials employed during previous restorations and their influence on the original structure of the painting. [From the publication]