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Erotica & sapientia. Rudolf II’s early years at Prague Castle

100%
Uličný P.
Umění (Art)
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2021
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vol. 69
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issue 4
390-415
EN
In 1579 Rudolf II envisaged the construction of a grand royal palace at Prague Castle, with an extensive sculptural programme that he undoubtedly planned to commission from Giambologna’s pupil Hans Mont. However, Rudolf shelved the project and Mont left the Prague court in exasperation. In the early years of his reign, Rudolf was clearly looking for a style, and also the painter Bartholomeus Spranger, who waited for several years in Vienna for the emperor’s commission, fell victim to this search. His biographer Karel van Mander even wrote that Rudolf had little interest in art at that time. Thanks to a valuable report by Hans Ulrich Krafft in 1584, however, we know that the emperor already possessed a collection of art, but which had a distinctly erotic content. This was the reason why Rudolf concealed it from his wider society. It was not until 1588 that envoys at the Prague court began to report Rudolf’s preference for ‘lascivious’ art. It was also at the same time that the emperor decided to build a large picture gallery at the castle, called the Spanish Hall, the present Rudolf Gallery and established his magnificence and his reputation as one of the greatest patrons of art in Europe. On his way to it, he built the Summer House near his palace at the castle in about 1579–1582, and this became the home of his ‘erotic Kunstkammer’. Around 1586 he also had a studiolo created on the second floor of the White Tower, which shows that Rudolf was inspired by the towers of Neugebäude, but unlike this model, he kept the decoration in Prague modest, like in the summer palace in the Imperial Mill, which was completed in 1594. While in the older Habsburg architecture there was a contrast between the austere palaces and richly decorated leisure structures, Rudolf seems to have come up with a new concept: buildings with a representational function were to be elaborately articulated, whereas private structures, including summer houses, were to be of modest form. Spranger’s fresco of Hermathena in the vault of the studiolo, inspired by the studiolo in the Palazzo Farnese in Caprarola, was intended to symbolise to symbolise the abode of a wise monarch, as were other planned frescos. It was thus erotica & sapientia that defined Rudolf’s programme in his early years at Prague Castle, and later also played a crucial role in his subsequent magnificent period.
CS
V roce 1579 Rudolf II. na Pražském hradě zamýšlel stavbu velkého královského paláce s bohatou sochařskou výzdobou, u které nepochybně plánoval, že ji provede Giambolognův žák Hans Mont. Tato idea byla zřejmě inspirována interiéry věží Neugebäude, které ještě za Maxmiliána II. v letech 1575–1576 sochařsky zdobil právě Mont. Rudolf však projekt odložil a Mont rozezlen odešel z pražského dvora. Rudolf v počátcích své vlády evidentně hledal svůj styl a na to doplatil i malíř Bartholomeus Spranger, který čekal několik let ve Vídni na císařovu zakázku. Karel van Mander, Sprangerův biograf, dokonce napsal, že v prvních letech vlády neměl Rudolf o umění velký zájem. Díky zprávě Hanse Ulricha Kraffta z roku 1584 však víme, že císař již tehdy vlastnil sbírku umění, ovšem erotického obsahu, kterou před svým okolím Rudolf skrýval, a nejspíš proto svoji inklinaci k umění nedával najevo. Až v roce 1588 vyslanci při pražském dvoře referovali, že Rudolf preferuje „lascivní“ umění, což bylo zároveň v době, kdy se císař na hradě rozhodl vybudovat velkou obrazovou galerii, Španělský sál, dnešní Rudolfova galerie. Tehdy císař konečně našel to, čím vytvořil svoji velkolepost a pověst jednoho z největších patronů umění v Evropě. Na cestě k ní vybudoval přibližně v 1579–1582 u svého paláce na Pražském hradě letní dům, ve kterém našla místo jeho „erotická kunstkomora“ a kolem roku 1586 také studiolo v druhém patře Bílé věže. Na této dochované prostoře lze demonstrovat, že i zde byl Rudolf inspirován věžemi z Neugebäude, ale oproti tamní bohaté výzdobě, byla v Praze velmi střídmá, stejně jako v grottě jeho letohrádku Císařský mlýn, dokončená v roce 1594. Zatímco u starších habsburských staveb existoval kontrast mezi jejich strohými paláci a bohatě zdobenými letohrádky, zdá se, že Rudolf přišel s novým konceptem. Stavby s reprezentační funkcí měly být náročně členěné, kdežto privátní objekty, včetně letohrádků, měly být jen skromné architektury. Sprangerova freska Hermatheny v klenbě studiola, inspirovaná studiolem v Palazzo Farnese v Caprarole, pak měla ukazovat na příbytek moudrého panovníka, stejně jako další plánované malby. Byla to tak erotica & sapientia, která definovala Rudolfův program jeho prvních let na Pražském hradě a která hrála zásadní roli i v jeho následujícím velkolepém období.
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Ein unbekannter Text zum Prager Fest Phasma Dionysiacum Pragense (1617)

100%
Dobalová S.
Acta Comeniana (International review of Comenius studies and early modern intellectual history)
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2009
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vol. 22-23
207-247
EN
The article deals with a newly discovered document describing the festivity Phasma Dionysiacum Pragense, which was found in the holdings of the Herzog August Bibliothek in Wolfenbüttel. Phasma was played at Prague Castle in February 1617, opening a three days long carnival. The first evening performance with singing, music and ballet was organized on an elaborated architectonical stage. The recently found text brings several new pieces of information; of special interest is the identification of the so-called “lautenspielerin” who was singing in the role of Gloria, celebrating the Habsburgs. Included are also two further days of the carnival with knightly games, the detailed description of costumes and the names of “knights”. The interpretation of the text from Wolfenbüttel shows undoubtedly that Phasma was staged in the Old Land Diet’s Hall (Alter Landtagssaal), which is a smaller hall next to the Wladislaw Hall at the Prague Castle. The visual appearance of the event is documented by engravings which are analyzed in the context of contemporary European theatre. At the end of the article, hypothesis is formulated about the possible author of the theatre stage – the court architect Giovanni Maria Filippi. The appendix contains a complete transcription of the German text from Wolfenbüttel omitting just the parts containing the Italian arias that had been already published (Seifert 1998).
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Reliefs depicting the Virgin, founders and patrons from the convent of St. George at Prague Castle

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Mudra A., Logan H.
Umění (Art)
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2023
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vol. 71
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issue 3
216-234
EN
The relief in the St. George Convent at Prague Castle are of fundamental importance for the history of artistic and religious culture in the Přemyslid era. This article presents the results of a monographic study of these works, while taking into account all the relevant factors that might shed a light on their conception, creation, the origin of their creators and the models they drew on, as well as the intentions of those commissioning them, their location and function. Clues as to their original function are revealed, inter alia, through transcriptions of inscriptions and the identification of their sources and the context of their appearance, or through the deconstruction of sets of reliefs and an examination of alternatives to the original identification of place and date of the individual parts of a set. The reliefs probably originally comprised three separate units: the archivolts created at the time of the rebuilding of the convent under Abbess Bertha as part of the exterior portal (after 1142); the relief of the Madonna shortly after the death of the Abbess as part of the altarpiece (c. 1187); and the reliefs of benefactors not long after that, following the coronation of Přemysl (Ottokar) I (1198). A stylistic and comparative analysis of the situation in question, when in Bohemia there was probably no widely based production, established workshops, training, stable inventory of artistic tasks, systematic reception of the work of important artistic centres, trends or tendencies, more than anything else reveals its own limitations. Also examined are the processes of artistic transfer, i.e. the possibility of contact with often distant cultural circles, where typological patterns and analogies of Prague reliefs occur. The iconographic and iconological analysis reveals a richly structured and layered conception of subject matter, as well as references to devotional types of image or to contemporary tendencies in religious thought. The synergy of text and image in the reliefs in the St. George Convent provides a clue as to how an image spoke, sang, evoked responses, assumed or required roles, attitudes and actions on the part of the viewers, encouraged their active participation in associated rites, and evoked theological meanings that in turn prompted meditation on the paradoxes of the faith.
CS
Svatojiřské reliéfy mají pro dějiny výtvarné a náboženské kultury v přemyslovské epoše fundamentální význam. Článek přináší výsledek jejich monografického studia, přičemž se snaží brát do úvahy všechny možné relevantní aspekty, které by mohly objasnit jejich koncepci, vznik, původ autorů a předloh, záměry objednavatelů, umístění či funkci. Indicie k původní funkci se ukazují mimo jiné díky transkripci nápisů a identifikaci jejich zdrojů a kontextů výskytu nebo díky dekonstrukci sestavy reliéfů a zvážení alternativ původního umístění a datace jednotlivých částí sestavy. Reliéfy pravděpodobně tvořily původně tři samostatné celky, přičemž archivolty vznikly v době přestavby kláštera za abatyše Berty jako součást exteriérového portálu (po roce 1142), reliéf s Madonou krátce po její smrti asi jako součást oltářního nástavce (asi kolem 1187) a reliéfy s donátory nedlouho poté, po korunovaci Přemysla I. (1198). Metoda stylové a srovnávací analýzy za dané situace, kdy v Čechách asi neexistovala šířeji založená produkce, stálé dílny, systém školení, stabilní rejstřík uměleckých úkolů, soustavná recepce tvorby významných uměleckých center, trendy či tendence, přináší spíše jen poznání jejích limitů. Prověřovány jsou i procesy uměleckého transferu, tj. možnosti kontaktu s často vzdálenými kulturními okruhy, kde se vyskytují typologické vzory a analogie pražských reliéfů. Ikonograficko-ikonologická analýza poodhaluje bohatě strukturovanou a vrstevnatou koncepci námětu, reference k devočním typům obrazů nebo k dobovým tendencím náboženského myšlení. Synergie textu a obrazu na svatojiřských reliéfech naznačuje představu, jak obraz mluvil, zpíval, vyvolával responsi, předpokládal nebo vyžadoval role, postoje a akce vnímatelů, podporoval jejich aktivní účast na obřadech, evokoval teologické významy a stimuloval tak meditaci paradoxů Božího vtělení, tělesného nanebevzetí a kněžství Panny Marie, eucharistie, očistce nebo vzkříšení mrtvých.
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The Summer palace in the Royal garden of Prague Castle and the first renaissance recreational building in Central Europe

88%
Uličný P., Bryson Gustová A.
Umění (Art)
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2019
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vol. 67
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issue 6
514-537
EN
Over just a few decades, starting in the last years of the 15th century, three summer palaces that were all very similar to one another were built in the Bohemian and Hungarian Lands. One stands close to Prague Castle, and since the 19th century has been known as the Belvedere, another on the edge of the former game reserve of Ovenec near Prague, and the third in the Nyék game reserve near Buda. They all had long rectangular cores surrounded by an arcaded walkway on the ground floor, and although they were among the first Renaissance buildings either in this region or the whole transalpine area, no direct model in this form can be found for them in Italy. This article aims to present a new analysis of the relationship between the three buildings, and one that leads to a new view of the genesis of the architecture of the Prague summer palace, which was built in the years 1538–1563 by Paolo della Stella, Giovanni de Spatio and Bonifaz Wohlmut. Paolo della Stella, who was sought out by King Ferdinand I in Genoa in 1537, and has until now been considered the architect of the palace, seems only to have been responsible for details of the building that were influenced by the contemporary work of Michele Sanmicheli and Jacopo Sansovino, while the overall plan with columned arcades encircling the building has its origin in the Central European architecture of Matthias Corvinus and Vladislav Jagiellon. Ferdinand gained a detailed first-hand knowledge of this architecture in 1527, and because apart from a brief visit to Trent in 1536 he was never in Italy, his experience in Hungary was his main opportunity to get to know Renaissance art, and of a very high standard. The other architectural inspiration for the Prague Belvedere was the summer palace in the Ovenec game park, which was built with the help of stonemasons from Buda around the year 1495, and appears to be older than what is known as Building II of the complex in Nyék, probably built around 1502. The ultimate source for the idea of encircling arcades was probably the Medici villa of Poggio a Caiano, built starting in 1495; its plan was brought to the Buda court of Vladislav Jagiellon by one of the Florentine masters.
CS
Během několika desetiletí, počínaje posledními léty 15. století, vznikly v Čechách a Uhrách tři letohrádky, které si jsou navzájem velmi podobné. Jeden stojí u Pražského hradu, nazývaný od 19. století Belvedér, dru- hý v bývalé ovenecké oboře u Prahy a třetí byl postaven v oboře Nyék u Budína. Jejich dlouhé obdélné jádro bylo na všech stranách obtočeno v přízemí arkádovým ochozem, a i když to byly jedny z prvních renesančních staveb v tomto regionu a celé záalpské oblasti vůbec, nelze k nim v této podobě v Itálii nalézt přímý vzor. Předkládaný článek si klade za cíl provést novou analýzu vztahu těchto tří staveb, která vede k novému pohledu na genezi architektury pražského letohrádku, postaveného v letech 1538–1563 Paolem della Stellou, Giovannim de Spatiem a Bonifázem Wohlmutem. Paolo della Stella, který je dosud považovaný za autora návrhu a který byl králem Ferdinandem I. vyhledán v roce 1537 v Janově, se zdá být pouze autorem detailů stavby, ovlivněné současnou tvorbou Michela Sanmicheliho a Jacopa Sansovina, zatímco celkový koncept se sloupovými arkádami obkružujícími stavbu má původ ve středoevropské architektuře Matyáše Korvína a Vladislava Jagellonského. S ní se Ferdinand detailně seznámil v roce 1527, a protože kromě krátké návštěvy Tridentu v roce 1536 v Itálii nikdy nepobýval, byl tento uherský pobyt jeho hlavní příležitostí seznámit se s renesančním uměním, a to zároveň ve vynikající kvalitě. Dalším architektonickým zdrojem pro pražský Belvedér byl letohrádek v ovenecké oboře, stavěný s pomocí budínských kameníků v době kolem roku 1495, který je patrně starší než stejně komponovaná tzv. stavba II. komplexu v Nyéku, budovaná asi kolem roku 1502. Zdrojem pro ideu obkružujících arkád byla pravděpodobně medicejská vila Poggio a Caiano, stavěná od roku 1495, jejíž plán v této době na budínský dvůr Vladislava Jagellonského zřejmě přinesl některý z florentských mistrů.
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Provozní náklady Pražského hradu v roce 1538. Analýza pramene k dějinám financí v době Ferdinanda I.

88%
Chmelař J.
Historie – Otázky – Problémy (History, Issues, Problems)
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2015
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vol. 7
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issue 2
191-201
EN
The document contains a summary of salaries and commissions for some officials and servants of Ferdinand I in 1538. It is divided into several parts — clergy and other staff at the Prague Castle, staff of the Chamber Court, the Bohemian Chamber and its officials and servants, servants of the Prague Castle, Prague Ungelt, and others.
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Vladislavský sál pražského hradu ve světle nových nálezů. Příspěvek k dějinám každodennosti pozdního středověku a raného novověku

75%
Blažková G., Frolík J., Matyášek J.
Mediaevalia Historica Bohemica
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2016
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vol. 19
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issue 2
27-50
EN
At the end of 2008 and beginning of 2009, resque archaeological excavation was conducted during the reconstruction of the floor in Vladislav Hall of Prague Castle. The research was limited in the major part of the Hall to the surface terrain with the exception of eight trenches in various parts of the Hall, but always at the external walls. It is substantial for the method of the research and its conclusions that all of the selected backfill was sifted and partially also floated. The items found characterize several areas of everyday life. The components of clothing are numerous (buttons, clasps, needles, leather bags and fragments of shoes, a ring, a pendant or part of an earring, pins and thimbles). The personal equipment includes a pocket sundial of wood. There were feasts on celebratory occasions in the hall, which is proved by tableware (a knife, wooden spoons, fragments of glass vessels). Another significant function of the Hall was also the operation of a marketplace. The testimony on business transactions are fragments of leather purses and scales (including a set of nested weights). The coin finds are also related at least partially with this activity. Most of the finds can be chronologically placed in the second half of the 16th century and earlier part of the 17th century. They clearly prove that the Hall fulfilled several functions at that time. It was always connected with social communication (public ceremonies, the sessions of the estates’ diet).
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Renesanční podoba Pražského hradu z archeologického pohledu

75%
Blažková G.
Historie – Otázky – Problémy (History, Issues, Problems)
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2015
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vol. 7
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issue 2
121-134
EN
This study is based on archaeological sources: a group of cesspits from houses along the north and west sides of the 3rd courtyard of the Prague Castle. A combination of historical plans, written and archaeological sources makes it possible to date all of the studied cesspits with a high degree of accuracy. The find assemblages are to be dated to different decades of the second half of the 15th and the first half of the 18th century. Analyses of the cesspits indicate a differentiated social milieu. Church dignitaries created lavish assemblages. Individual luxury items appeared in the milieu which we associate with the imperial court and several of its officials. Also represented is a cesspit from a common environment (owned by a blacksmith). Whether the higher proportional representation of pans, bowls, and bottles indicates the operation of an inn in Vikářská Street, we do not know.
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Zobrazení Pražského hradu z roku 1541? Příspěvek do diskuse nad Steynerovou vedutou z pohledu archeologa

75%
Boháčová I.
Historie – Otázky – Problémy (History, Issues, Problems)
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2022
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vol. 14
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issue 1
90-102
EN
A new interpretation of the depiction of the detrimental fire of Prague’s left riverbank in 1541. The author finds many concordances between the illustration and the real situation of Prague Castle and its surroundings viewed from the southeast.
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Kaiser Ferdinand I. und das Schicksal des Herrscherzyklus’ im Alten Königspalast der Prager Burg

63%
Fučíková E.
Historie – Otázky – Problémy (History, Issues, Problems)
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2015
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vol. 7
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issue 2
135-141
EN
Correspondence between Emperor Ferdinand I and Archduke Ferdinand II documents not only a loving relationship between father and son, but also their extraordinary personal engagement in construction activities at the Prague Castle. A case in point is the planned realisation of the rulers’ cycle in Vladislav Hall and its fate during the reign of Emperor Ferdinand I. A lack of money, slow progress of the construction work and a gradual transfer of its site from Vladislav Hall to the facade of the New Land Registry and then to the Assembly Hall sealed the fate of this project. Despite several attempts the plan was not executed.
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The Palace of Queen Anne Jagiello and Archduke Ferdinand II of Tyrol by the White Tower in Prague Castle

63%
Uličný P.
Historie – Otázky – Problémy (History, Issues, Problems)
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2015
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vol. 7
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issue 2
142-161
EN
From the times of Vladislaus II Jagiello (1456–1516) the residence in Prague Castle had two parts. After a costly refurbishment, the Old Royal Palace was adapted as the King’s seat and a new palace was built for the Queen by the White Tower on the west side of Prague Castle. Later it became the residence of Queen Anne Jagiello (1503–1547), wife of Ferdinand I, and after her death, in 1547, it became the residence of the second-born, Bohemian Governor Archduke Ferdinand II. Although not much has survived after numerous reconstructions, one can get a rough idea of its extent and furnishings on the basis of several fragments, written sources and iconography.
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Jak strávit exil. Francouzský král Karel X. na Pražském hradě

51%
Lenderová M., Halata M., Miller S.
Český časopis historický (The Czech Historical Review)
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2022
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vol. 120
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issue 1
37-79
EN
The study focuses on the Prague exile of the last crowned French king Charles X in 1832–1836. It notices the popularization reflection of the king’s stay, which originated in the Czech milieu from the end of the 19th century. It arises from the memoirs of Charles’s contemporaries (including members of his exile court and Josef Rudolph of Wartburg, son of the inspector of Prague Castle, etc.), from reports of the Prague Police Directorate, a collection of reports submitted to Chancellor Metternich, from materials on the accommodation and furnishings options of Prague Castle and from the related results of art-historical research of the New Palace of the castle, where the king stayed with his family and a small court. It deals with the king’s interaction with the milieu of the Czech lands. Last but not least, it then deals with the upbringing of Charles’s grandson Henry, in which František Palacký and Joachime Barrande, among others, participated.
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Práce s časem v díle Prvního Kosmova pokračovatele

51%
Luňáková L.
Český časopis historický (The Czech Historical Review)
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2016
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vol. 114
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issue 4
899-918
EN
This study deals with the work of Cosmas’ First Successor (for a long time referred to as the Canon of Vyšehrad) through the optics of his work with time, i.e. how and what he dates, which holy days and saints he considers significant, which public events he takes notice of and possibly highlights by pointing out their connection with the holy days. This all may not just confirm or disprove moving the writer’s place of work from Vyšehrad back to the Prague Castle (as Lukáš Reitinger did recently), but above all reveal the author’s world of thoughts and his notion of sacredness of various days and possible sanctification of certain events, or point out a constituency of events and persons that he considered important and that he was likely to be around. Last but not least, it allows to compare the concepts of time in the work of Cosm
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The Fate of the Remains and Funerary Equipment of Czech Rulers and Their Family Members

38%
Bravermanová M., Březinová H.
Acta Universitatis Lodziensis. Folia Archaeologica
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2020
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issue 35
107-121
PL
Zamek Praski był najważniejszym miejscem pochówku czeskich władców i ich krewnych. Groby znajdują się w kościele Matki Boskiej, w kościele i klasztorze pod wezwaniem św. Jerzego oraz, najliczniej, w katedrze św. Wita. Grobowce z relikwiami najważniejszych świętych patronów Czech również znajdują się na Zamku Praskim w bazylice św. Jerzego, katedrze św. Wita oraz kościele Wszystkich Świętych. Wiemy także o grobach dwunastu praskich biskupów w katedrze św. Wita. Większość wspomnianych grobów otwierano już kilkukrotnie w przeszłości z różnych powodów, co przysporzyło różnego rodzaju problemów, spośród których najpoważniejszym było mylenie relikwii. Pierwsze systematyczne badania antropologiczne przeprowadzono na początku XX w. Szczątki niemal wszystkich postaci historycznych pochowanych na Zamku Praskim zostały udostępnione do innego badania antropologicznego przeprowadzonego w latach 60. XX w. Obecnie trwają dalsze badania obejmujące nowoczesne analizy w zakresie nauk przyrodniczych. Wydobyte w przeszłości wyposażenie grobowe w większości przypadków nie było należycie traktowane głównie ze względu na brak świadomości prawidłowych procedur postępowania z artefaktami, które wiele lat spędziły w nieodpowiednich warunkach panujących w grobach i grobowcach. Wyposażenie grobowe często było konserwowane w nieprawidłowy sposób. Poziom konserwacji znacznie wzrósł po tym, jak w 2000 r. powstały warsztaty renowacyjno-konserwatorskie. Otwieranie grobów jest problematyczne, a biorąc pod uwagę kwestie etyczne, powinno do niego dochodzić wyłącznie w ograniczonym zakresie. Częstym powodem są konieczne prace budowlane i w takich przypadkach należy okazywać szczątkom należyty szacunek. Z kolei z wydobywanym wyposażeniem grobowym należy postępować we właściwy sposób, gdyż artefakty te często stanowią niezastąpione dziedzictwo, które należy poddawać naukowym analizom. Sam głód wiedzy, często związany z próbą wywołania sensacji, nie upoważnia nas do zakłócania miejsc pochówku naszych przodków nieprzemyślanymi działaniami.
EN
Prague Castle was the most important burial site of the Czech rulers and their relatives. The graves are located in the Church of the Virgin Mary, in St. George Church and Convent, and, in the greatest numbers in the St. Vitus Cathedral. Reliquary tombs of the most important Czech patron saints are also located at Prague Castle – in St. George Basilica, in St. Vitus Cathedral and in All Saints Church. We also know the graves of 12 Prague bishops that are located in the St. Vitus Cathedral. The majority of the aforementioned graves have been opened several times in the past for a variety of reasons, that caused various problems, the most serious of which involved the confusion of relics. The first systematic anthropological investigations were conducted at the beginning of the 20th century. The remains of nearly all historical personalities buried at Prague Castle were available for another anthropological study conducted in the 1960s. Currently, the research continues with modern nature science analyzes. In the past, removed grave goods did not receive proper care for the most part, mainly due to a lack of understanding as to what constituted correct procedures for handling artefacts deposited for years in the unsuitable conditions of graves and tombs. The grave goods themselves were often restored in an inappropriate manner. The restoration situation improved significantly after the establishment of restoration and conservation workshops in 2000. The opening of graves is problematic and, from an ethical point of view, should be performer only to a very limited extent. Necessary construction work is a common reason for disruption, and in this case remains should be treated with respect. And if grave goods are removed, they must be cared for in a proper manner, as these artefacts are often irreplaceable heritage whose scientific study is a legitimate pursuit. The mere lust for knowledge, often connected with efforts to generate sensation, does not entitle us to disturb the resting place of our ancestors with ill-considered interventions.
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