The study investigates the effect of heat treatment on the microstructure evolution and properties of an age-hardened ­Cu-3Ti-2Mg alloy. The precipitated Cu2Mg and β'-Cu4Ti phases consequently yield a depletion of the Cu matrix in regards to Ti and Mg solutes, which enhances the electrical conductivity. The Cu2Mg Laves phase and β'-Cu4Ti phase precipitates increase the hardness of the alloy due to the consistency and coherency of the later phase. However, the decrease of hardness is mainly associated with the coarse microstructures, that can be formed due to the phase transformation from metastable β'-Cu4Ti phase to more stable Cu3Ti phase. In the range of experiments, the optimum process is solution treatment at 700°C for 4 h, with subsequent age-hardening at 450°C for 4 h. The electrical conductivity, hardness, tensile strength, and elongation of the Cu-3Ti-2Mg alloy were 15.34 %IACS, 344 HV, 533 MPa, and 12%, respectively.

The article discusses the artistic setting of the largest religious ceremony of the beginning of the 20th century, the coronation of the icon of Our Lady of Consolation in the Church of St. Peter and Paul in Lviv. The painting itself was considered to be one of the palladiums of the city, as in 1656, during the Swedish Deluge, the papal nuncio Vidoni first uttered the call to the “Queen of the Polish Crown” in front of this Marian image, in the presence of King Jan Kazimierz and the court.
In 1904, on the occasion of the jubilee of the announcement of the Dogma of the Immaculate Conception of the Blessed Virgin Mary, the Marian Congress took place in Lviv, and in that same year the decision was made to create new crowns for the painting of the Mother of God and Baby Jesus. A committee, composed of representatives from the aristocracy and bourgeoisie of the city, was set up to raise the appropriate funds, and the then Archbishop of Lviv, Józef Bilczewski, was asked to perform the solemn coronation. An artistic and technical committee was also established, which included the architect Teodor Talowski (chairman), Antoni Popiel, Andrzej Romaszkan, Tadeusz Czapelski and Karol Richtmann, who made the decision to transform the altar where the painting was placed and to convert the area of the church bay into a distinct chapel. The works were led by Karol Richtmann, the altar was renovated by the painter Karol Domański, and the new bronze antependium was designed by Antoni Popiel. The bolt with the depiction of Our Lady of the Immaculate Conception was made by the sculptor Piotr Wójtowicz. The icon of the Virgin Mary itself was restored by Henryk Kühn. The chapel vault was decorated with paintings by Tadeusz Popiel, and its space was separated from the rest of the church by a grid made according to a project by Alfred Zachariewicz. Antoni Popiel designed golden crowns and a new dress for the figures of the Mother of God and Baby Jesus, made by the goldsmith and jeweller Jan Wojtych. The Committee also commissioned new stained glass windows for the chapel from the Kraków workshop of Stanisław Ekielski and Antoni Tuch. The main work was completed in July 1905.
On 12 February 1905, a coronation decree was issued in Rome, and Archbishop Bilczewski was appointed to perform the coronation act. On 28 April 1905, another decree was issued recognizing the antiquity and miraculousness of the painting, and the ceremony was scheduled for 28th May.
The church façade, side elevation and interior were decorated extensively, while the focal point was prepared for receiving the painting – “The Gothic golden throne with motifs from the tomb of Kazimierz the Great”. The decorations were designed by Stanisław Jasieński, a renowned painter and theatre decorator of the time. The streets and squares which the coronation procession went through were also adorned. The ceremony was very carefully planned and directed; it was attended by the clergy of the three Christian rites, local authorities and representatives of all social strata. When analyzing the coronation ceremonies, it is important to underline their considerable reliance on the schemes of coronations of Marian images which took place on Polish territory in the 18th century. The tradition of the last Marian coronation, of a painting from the Dominican Church in Lviv in 1751, was strongly referred to and accentuated in occasional prints that accompanied this solemn act. The reference to old Polish coronations can be seen in numerous occasional prints, in reporting on the course of the ceremony, as well as in the extensive descriptions and texts of sermons published. This ceremony had an exceptional social and national dimension, as it was the first such coronation in the former Polish lands since the loss of independence, and the most important ceremony before the outbreak of the First World War. Not without significance in this context was the underlined similarity of forms between the coronation throne and the canopy over the tombstone of Kazimierz the Great in the Kraków Cathedral, or the calling of one crown as Kazimierzowska and the other Jagiellońska. The new artistic remodeling of the Chapel of Our Lady in the Jesuit Church was a prelude to the renovation of the remaining altars in the church. The coronation ceremony and the restoration of the chapel gathered together the most important artists of the early 19th century working for the Church patronage in the capital of Galicia. The chapel designed by Teodor Talowski successfully combines an 18th-century retabulum with paintings by Tadeusz Popiel, being probably the last example of a true Baroque bel composto.

Previously, the reasons behind spatial chaos were seen primarily as stemming from the use of planning permits in introducing new development, whereas spatial development plans were generally proposed as a remedy. After over a decade of the functioning of new plans, it turned out that they introduce new threats and often do not implement desired spatial structuring mechanisms. Methods of obtaining long-term positive spatial effects were proposed, especially in areas undergoing urbanisation, where negative phenomena display greater intensity.

Professor Leszek Kuźnicki, an outstanding protozoologist, the President of the Polish Academy of Sciences in the years 1993–1998, died in Warsaw on February 3, 2023 at the age of 94. Throughout his professional life, he was associated with the Nencki Institute of Experimental Biology. Moreover, he chaired the Cytobiology Committee as well as the Evolutionary and Theoretical Biology Committee of Polish Academy of Sciences. He played a significant role in creating the modern scientific infrastructure in Poland. Throughout the years of his activity, he strongly advocated the idea of maintaining high standards of excellence in research work. He used to say that education should be available to everyone without exception, while scientific work is only intended for the most motivated and the best. It is with deep regret that we say goodbye to a man dedicated entirely to science and the Polish Academy of Sciences.