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1

DECLARATIO BREVIS CORONE IMMACULATE VIRGINIS: A SOURCE FOR LATE MEDIEVAL POPULAR PIETY

100%
Kalous A.
Umění (Art)
|
2007
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vol. 55
|
issue 1
40-44
EN
A set of four incunabula is deposited in the Research Library of Olomouc. One of them contains a handwritten page with the text Declaratio brevis Corone immaculate Virginis. In terms of its content, this text conforms to general religious trends in the 15th century in Central Europe. The late Middle Ages were characterised by a heightened spirituality and an emphasis on traditional objects of popular piety - first and foremost the Virgin Mary and the life of Christ. To a considerable degree, these trends were also supported by the mendicant orders. Marian piety and its expression in the rosary were spread through the influence of the Dominicans and the Minorites (and later the Franciscan-Observants). The Dominican rosary, which included 150 'Hail Marys', was the most widespread, but other versions were also popular. Among the Franciscans of the 15th century, the most popular version was the one that was allegedly promoted by St Bernardino of Siena and St Giovanni of Capistrano. In this version, the number of angelic salutations referred to the lifespan of the Virgin Mary on earth: this rosary included 63 (or 70, 72, 73) 'Hail Marys'. After the end of the Hussite revolution, the Franciscans also introduced the latest European trends to the Czech lands, in particular Moravia and Silesia. In these lands, the Utraquist influence was less pronounced than in Bohemia. Moravia, Silesia and Lusatia extricated themselves from international isolation much sooner than did Bohemia. European influences increased on account of the Catholic cities, as well as the conquest of Matthias Corvinus and the joining of these lands to his Hungarian Kingdom. In 1468, Corvinus visited Olomouc and on that occasion the Church of the Immaculate Conception of the Virgin Mary at the Franciscan monastery was consecrated. The wall painting from 1500 in this church depicts the Coronation of the Virgin Mary, along with two rows of depictions on the theme of the seven joys of the Virgin Mary and the seven effusions of the blood of Christ. A similar painting has been preserved in the Franciscan church in Wroclaw, which includes a further five rows with other depictions. Nonetheless, these paintings are typologically similar. The fact that the paintings were widespread recalls the general trends of piety at the end of the Middle Ages, although one can find specific points in common between the Franciscans in Olomouc and in Wroclaw (the Bishop and Franciscan Jan Filipec). The text, which is published as an addendum, describes a painting, which corresponds in detail to the depiction in Olomouc (except that in the painting there are 73 beads, whereas in the text there is mention of the 63 years of the Virgin Mary). This text explains how the painting should be perceived and interpreted from the perspective of popular piety. It demonstrates that such paintings were clearly even more widespread and in use, as one can see from the attached list of indulgences offered to the faithful who prayed the prayer of 'the crown of the Virgin Mary'.
2

FIGURED BASS INSTRUCTION AMONG FRANCISCANS IN 18TH- AND 19TH-CENTURY SLOVAKIA

100%
Kačic L.
Musicologica Slovaca
|
2018
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vol. 9 (35)
|
issue 1
5 - 27
EN
Figured bass instruction, which was fundamental for organ playing, was at a high level among Franciscans in Slovakia in the 19th and 20th centuries. They used authoritative textbooks, whether in translations – the Czech-language, though strongly Slovakized, translation of an older textbook by J. D. Heinichen Neu erfundene und gründliche Anweisung [...] zu volkommener Erlernung des General-Basses (1711), and the Slovak translation of J. G. Albrechtsberger’s textbook Neue vermehrte Auflage der Kurzgefassten Methode den Generalbass zu erlernen (c. 1791) – or their own Latin textbook Praxis Authentica Pulsandi Organum (c. 1768) by P. Pantaleon Roškovský OFM, which he compiled according to handbooks by M. Gugl (1719), J.B. Samber (1704), J.D. Heinichen (1728), as well as J.J. Fux (1725) and other authors.
3
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Barokní poutní cesta do Hájku u Prahy

100%
Pařízková K.
Folia historica Bohemica
|
2010
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vol. 25
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issue 2
113-153
EN
The essay is dedicated to the Baroque pilgrim route from Prague to the Loreta which is still standing in the Franciscans’ monastery in Hajek u Červeneho Ujezda. It originated in 1720-1733. Twenty alcove chapels in a regular spacing were built at the expense of leading noble families. Inside Theky were painted with murals depicting the lives of the Virgin Mary and St. Francis. The Franciscan order maintained and repaired them until the end of the 18th century. When the resources for thein repairs were stopped, the order had no finances for their maintenance. Six of them were pulled down in the course of the 19th century because of their bad condition. Eleven chapels have survived and have been gradually repaired. A section of the broken pilgrim route between Litovice and Hajek has been restored.
4

K ŠPECIFIKÁM HUDBY FRANTIŠKÁNOV NA MORAVE V 17. A 18. STOROČÍ: POZNÁMKY K DEJINÁM HUDBY V PROVINCII BOHEMIAE SANCTI WENCESLAI

75%
Kačic L.
Musicologica Slovaca
|
2011
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vol. 2 (28)
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issue 2
207 - 229
EN
The study consists of the notes on the topic of Franciscan music in the 17th and 18th century in St. Wenceslaus Province (Provincia Bohemiae Sancti Wenceslai), based on sources in the monasteries at Dačice and Moravská Třebová. During the 17th century the specific features of music in this province included – besides an emphasis on cultivation of the traditional Gregorian chant (treatises by P. Modestus Märstein) and new composition in the so called measured chant – much greater space afforded to non-Franciscan composers in the repertoire of the Mass. Some of these compositions became part of the basic repertoire also in the neighbouring Austrian province of St. Bernardin of Sienna. The Czech province probably had closer contacts not only with Franciscans in Slovakia but also in the Tyrol. Evidence of this is the simplified type of Franciscan poly-choral music (two single-voice choirs) in the 18th century, when in reality this music could be presented in double choir only in St. Wenceslaus Province. In the terms of practical performance it is the use of other instruments alongside the organ, though in a lesser degree than in the neighbouring provinces.
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