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Iluminované rukopisy v Christian-Weise-Bibliothek v Žitavě

100%
Brodsky P.
Studie o rukopisech (Manuscript Studies)
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2008
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vol. 36
243-270
EN
The illuminated manuscripts in Zittau are only known to some extent. The two-volume Vesperale and Matutinale (A I, A VI) from the second decade of the fifteenth century was created for the Karlov Augustinian Monastery in Prague. The painted decoration is the work of the Master of the Hasenburg Missal, who represents the highest stage of fine style. The Missal of the Prague Diocese (A VII) is from the early fifteenth century. The decoration is the work of two illuminators, led by the Master of the Roudnice Psalter, although the share of the second illuminator - the Master of Paul's Gospel - is more extensive. Hitherto unknown is the Antiphonary (A IV) from the second decade of the fifteenth century. The small share of the primary illuminator is based on the Master of the Antwerp Bible. The Zittau Gradual (A III) is dated 1512; its primary illuminator was Janicek Zmilely of Pisek. The Gradual (A V) was created in 1435 for the parish church in Zittau by commander of the Commenda of Johannites Johann Gottfried von Goldbergu. The decoration was evidently created in Vratislav by the Master of the Bible of Banken. The Vesperal and Matutinal (A II) from the end of the fifteenth century was perhaps designated for the Commenda of Johannites in Zittau. The decoration is Saxon work.
2

K významu drolerií ve středověkých rukopisech

100%
Brodsky P.
Studie o rukopisech (Manuscript Studies)
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2010
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vol. 39
279-286
EN
In the culminating and late middle ages funny scenes, the so called droleries, appear in the borders of illuminated manuscripts. Their problems are not explained completely; they seem to contain hidden spiritual meanings. Besides singing birds, which are symbols of the unearthly sphere, figures appear most oft en who were taken as negative in middle-ages - owls, apes, beasts of prey, dragons, and clowns. The figures of antique mythology were perceived as negative too; the cults connected with them were perceived as demoniacism by the Christian society. Droleries are usually placed in borders which are decorated with an acanth. Th e acanth in time became a symbol of victory over death. It can be also interpreted as Christ's crown of thorns. In this way the spirit of medieval symbolism indicated that negative forces are driven to the margin and defeated by Christ's victim.
3

Iluminované rukopisy v Stadtbibliothek v Budyšíně

100%
Brodsky P.
Studie o rukopisech (Manuscript Studies)
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2010
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vol. 39
345-350
EN
The Municipal Library in Bautzen houses a lot of Czech manuscripts which are dealt with by special literature, but the illuminations of which are known very scarcely. The decoration of the collection of work by Jan Hus (Ms. fol. 51) can be narrowed to the middle of the 15th century; the present date of 1412 is based on an entry in fol. 137v and is untenable because it is the text, not the decoration which came into existence in this year. The depictions - the figural and the heraldic ones - were added to the manuscripts supplementally; it is probably a picture of Jan Hus mounting the pulpit and a coat of arms of a member of the Hroznata family, maybe of the Kladruby abbot Busek of Vrtba or of the front warrior of the Catholic Side, Burian of Gutstejn. The collection of theological-juridical texts (Ms. fol. 56) contains moreover yearly records; only one text item (Reci besedni) can be attributed to Tomas Stitny of Stitne. The decoration of the codex is limited only to one fi gural illumination and one ornamental initial. Its style is quite advanced; it can most likely be dated to the 1470s.
4
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Výzdoba Misálu z Načeradce

100%
Brodsky P.
Studie o rukopisech (Manuscript Studies)
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2009
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vol. 37-38
45-48
EN
The missal of Naceradec is a modest codex from an artistic point of view. Its decoration is limited to one figural illumination only - a canon depiction of the Crucifixion; besides this, the manuscript contains only filigree initials and clerical capitals. The quality of its figural decoration is comparatively high. Its style is post-classical Gothic; linear pleats of the draperies imply a date in the beginning of the 14th century. Only a few analogies can be found in simultaneous book painting, e.g. in the decoration of the manuscripts of Eliska (Elisabeth) Rejcka, but these analogies are not immediate. Some correspondence, however, can be found in monumental art, more precisely in mural painting.
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