The continuation of conservation procedures on polychromies on the first, piano nobile floor of the galleries represents an important undertaking conducted within the framework of the project “Conservation and restoration of the 14th c. castle in Lidzbark Warmiński – a pearl of gothic architecture in Poland – stage II”. The paintings were uncovered fully during the first stage of the Norwegian project. The rich iconographic programme of the uncovered paintings including the decorations with heraldic, ornamental and architectonic elements in the lower belt of the gallery walls and presentation of religious and genre scenes in the shield fields was caused a sensation in the community of researchers. The stronghold of Lidzbark was named the “painted castle”. The paintings dating from the late 14th c. and commissioned by Bishop Henryk Sorbom, are unique in Europe. Initially, the researchers linked them to the masterpieces of the Czech school.
On Thursday, 6 August 2015, another – the second – meeting of the conservation commission supervising the works and evaluating the work progress and results took place. This consisted of the representatives of the Museum of Warmia and Mazury, Warmia and Mazury Conservator of Monuments and experts. Prof Władysław Zalewski from the Academy of Fine Arts in Cracow and Prof Bogumiła J. Rouba from the Nicolaus Copernicus University in Toruń, both specialists in conservation of wall paintings participated. Barbara Zalewska – the Voivodship Conservator of Monuments, represented conservation services. Deputy director Anna Mrówka-Richert, Małgorzata Jackiewicz-Garniec – manager of the Museum of Warmia and Anna Szymańska from the Conservation Department, represented the Museum of Warmia and Mazury. Marcin Kozarzewski, head of the Monumentservice company that together with the Gorek Restauro company forms the consortium responsible for conducting works, presented the progress and outcomes of the restoration works conducted up to the present time. After reviewing the report, the conservation commission went to the gallery to inspect the status of the conservation works. Both the professors attending the meeting and the Voivodship Conservator of Monuments positively evaluated the activities conducted earlier and the further restoration programme. The points highlighted included not only the high quality of conservation works but also the multileveled approach to the subject issues, particularly the research efforts aimed at a full reading of the iconography of the individual scenes and the epigraphic works – documentation and “deciphering” of the inscriptions originating from a number of centuries.
On Thursday, 6 August 2015, another – the second – meeting of the conservation commission supervising the works and evaluating the work progress and results took place. This consisted of the representatives of the Museum of Warmia and Mazury, Warmia and Mazury Conservator of Monuments and experts. Prof Władysław Zalewski from the Academy of Fine Arts in Cracow and Prof Bogumiła J. Rouba from the Nicolaus Copernicus University in Toruń, both specialists in conservation of wall paintings participated. Barbara Zalewska – the Voivodship Conservator of Monuments, represented conservation services. Deputy director Anna Mrówka-Richert, Małgorzata Jackiewicz-Garniec – manager of the Museum of Warmia and Anna Szymańska from the Conservation Department, represented the Museum of Warmia and Mazury. Marcin Kozarzewski, head of the Monumentservice company that together with the Gorek Restauro company forms the consortium responsible for conducting works, presented the progress and outcomes of the restoration works conducted up to the present time. After reviewing the report, the conservation commission went to the gallery to inspect the status of the conservation works. Both the professors attending the meeting and the Voivodship Conservator of Monuments positively evaluated the activities conducted earlier and the further restoration programme. The points highlighted included not only the high quality of conservation works but also the multileveled approach to the subject issues, particularly the research efforts aimed at a full reading of the iconography of the individual scenes and the epigraphic works – documentation and “deciphering” of the inscriptions originating from a number of centuries.
