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Misál krakovský v Arcidiecézním archivu ve Hnězdně

100%
Brodský P., Zachová I.
Studie o rukopisech (Manuscript Studies)
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2014
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vol. 44
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issue 1
411-416
EN
The Krakow missale has been supposed to originate at the end of the 15th century but its ornaments refer to the Czech book painting of the first half of the 15th century. The antiphonary of Zbigniew Oleśnicki plays an important role in this context. The local ornaments are the work of a workshop specialist undoubtedly of the Czech origin. The identic ornamental system of the Krakow missale shows that te manuscript is the work of the workshop of the Antiphonary of Zbigniew Oleśnicki. The Krakow missale can therefore be supposed to be dated as of 1420.
2
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Výzdoba misálu z Načeradce

100%
Brodský P.
Studie o rukopisech (Manuscript Studies)
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2009
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vol. 37-38
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issue 2007-2008
45-50
EN
The missal of Načeradec 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 Eliška (Elisabeth) Rejčka, but these analogies are not immediate. Some correspondence, however, can be found in monumental art, more precisely in mural painting.
3
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K významu drolerií ve středověkých rukopisech

100%
Brodský P.
Studie o rukopisech (Manuscript Studies)
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2010
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vol. 39
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issue 1
279-286
EN
In the culminating and late middle ages funny scenes, the so called drôleries, appear in the borders of illuminated manuscripts. Th eir problems are not explained completely; they seem to contain hidden spiritual meanings. Besides singing birds, which are symbols of the unearthly sphere, fi gures appear most oft en who were taken as negative in middle-ages – owls, apes, beasts of prey, dragons, and clowns. Th e fi gures of antique mythology were perceived as negative too; the cults connected with them were perceived as demoniacism by the Christian society. Drôleries 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.
4
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Iluminované rukopisy v Christian-Weise-Bibliothek v Žitavě

100%
Brodský P.
Studie o rukopisech (Manuscript Studies)
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2008
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vol. 36
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issue 2005-2006
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 Janíček Zmilelý of Písek. 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.
5
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Iluminované rukopisy v Stadtbibliothek v Budyšíně

100%
Brodský P.
Studie o rukopisech (Manuscript Studies)
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2010
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vol. 39
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issue 1
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 Bušek of Vrtba or of the front warrior of the Catholic Side, Burian of Gutštejn. The collection of theological-juridical texts (Ms. fol. 56) contains moreover yearly records; only one text item (Řeči besední) can be attributed to Tomáš Štítný of Štítné. 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.
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K podílu iluminátorů v Bibli Petra Zmrzlíka ze Svojšína

63%
Brodský P., Šumová M.
Umění (Art)
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2017
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vol. 65
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issue 2
EN
The three-volume Bible of Mint Master Petr Zmrzlík of Svojšín, dated to 1411-1414, is rich in painted decorations, but up to now in research they have not been evaluated very highly. These opinions do not sufficiently take into account the fact that it is the hand of multiple illuminators of varying skills. The decorations in the Bible have been newly analysed by Markéta Pražáková, who concludes that the decorations are of better quality and are the work of a larger number of illuminators than researchers previously believed. Pražáková argues that it is possible to identify four distinct creative styles in the bible’s illumination work: that of the Master of the Prophecy of Joel, the Master of the Prophecy of Malachi, the Master of the Book of Esther, and the Master of the Book of Psalms, as well as work by other workshop painters. Pražáková’s analysis provides a good starting point for a reappraisal of the decorations in the Zmrzlík’s Bible. It can be agreed that the main illuminator was the Master of the Book of Psalms, and an approach similar to his is evident in the work of another distinct illuminator, who created the decorations for most of the Epistles of Paul. It is also possible to identify within the workshop of the Master of the Book of Psalms contributions to the decorations by the Master of the Prague Exameron and, in particular, contributions by the Master of the Bible of Zikmund of Domažlice. The latter’s work, however, varies so greatly that sometimes it is not certain whether the given illumination was created by him personally or by his workshop. The work attributed to the Master of the Prophecy of Malachi has indeed been correctly identified as his, but not the work attributed to the painter named as the Master of the Prophecy of Joel, as the miniatures that have been attributed to this hypothetical illuminator are so varied that it is impossible that they are the work of one hand.
7
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Sbírka rukopisných zlomků ve Státním okresním archivu v Kutné Hoře

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Brodský P., Hradilová M., Hrdinová M., Petr S., Tošnerová M., Zachová I.
Studie o rukopisech (Manuscript Studies)
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2013
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vol. 43
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issue 1
207-248
EN
This article deals with the collection of manuscript fragments housed in the State District Archive in Kutná Hora. The collection contains 63 solely parchment fragments dating from the 13th to 16th centuries and taken off the bindings of Town books. They are mostly fragments of liturgical manuscripts, of the Bible commentaries, however fragments of canonical-legal texts, a fragment of the synodal statuta or hagiographic texts have survived as well.
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