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1

LA VEDUTA DI BRATISLAVA NEL CORTILE DI MICHELOZZO IN PALAZZO VECCHIO

100%
Caselli G.
ARS
|
2016
|
vol. 49
|
issue 1
82 – 89
EN
The view of Bratislava, identified by the inscription Possonia in the upper part and Posonium Hungariae civita in the lower part, was, like all the other vedute, overlaid with an oval decorative element placed in the centre of the lunette. During the 1812 intervention designed by the architect Giuseppe del Rosso, the entire Vasari´s decoration including the view of Bratislava was changed considerably. The view of Bratislava was among the few vedute that were not transferred on fibreboard base during the intervention in the 20th century. The aim of the restoration uniting individual parts of the composition was to revitalise the view of Bratislava so that the original, considerably damaged parts could coexist with historically accepted reconstructions in a harmonious whole.
2

VEDUTA POSSONIE – BRATISLAVY V PALAZZO VECCHIO VO FLORENCII A JEJ UKRYTÝ PRÍBEH

86%
Kvetánová I.
ARS
|
2016
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vol. 49
|
issue 1
20 – 41
EN
One of the oldest images of Bratislava can be found in the first courtyard of the Palazzo Vecchio in Florence (Cortile di Michelozzo). The mural painting titled “Possonia” (today’s Bratislava) was part of the cycle representing the views of 17 cities of Habsburg monarchy, commissioned in 1565 by Cosimo de’Medici for the wedding between his son Francesco and Giovanna d’Austria, daughter of Ferdinand I of Habsburg. The cycle was executed by Sebastiano (Bastiano) Veronese, Giovanni Lombardi Veneziano, Cesare Baglioni Bolognese, and Turino di Piamonte. The Possonia mural painting in Florence was most likely inspired by this image, signed by Monogrammist “HM” and “MG” i.e. Leipzig-based painter and graphic artist Hans Mayr (Meyer), or Martin and Donat Hubschmann.
3

HISTORICKÝ KONTEXT A OBSAHOVÉ SÚVISLOSTI NIEKTORÝCH DETAILOV VEDUTY BRATISLAVY VO FLORENTSKOM PALAZZO VECCHIO

86%
Bada M.
ARS
|
2016
|
vol. 49
|
issue 1
42 – 49
EN
On the occasion of marriage of Francis I Medici and Joanna of Austria in 1565, a mural painting representing Bratislava as one of the capitals of the Habsburg agglomeration was executed in the courtyard of the Palazzo Vecchio in Florence. Compared to the original woodcut completed by the Monogramist “HM” (Hans Mayr?), the fresco shows many differences. The outlined questions and similarities clearly show that it is important to explore the chronology of origin, mutual inspirations and a possible transfer of individual elements among the leading Habsburg courts and artists.
4

ZNOVUOBJAVENÁ RYBÁRSKA BRÁNA A JEJ GOTICKÉ PREDBRÁNIE NA FRESKE POSSONIA VO FLORENCII

86%
Musilová M.
ARS
|
2016
|
vol. 49
|
issue 1
50 – 67
EN
The appearance of the Fisherman’s Gate can be seen in the 1563 historical veduta of the town by Hans Mayer and the unique mural painting POSSONIA at the Palazzo Vecchio in Florence. The archaeological survey in 2001 revealed surprisingly well preserved remnants of the Gothic fore-gate of Fisherman’s Gate. Uncovered murals represent the most valuable part of the fore-gate, which is a unique example of 15th century Gothic fortification architecture in Slovakia. The discovery and presentation of the remains of Fisherman’s Gate based on the survey conducted by the Municipal Monument Preservation Institute in Bratislava was granted the “2001 Discovery of the Year” award and the medal Europa Nostra 2002 for the protection of cultural heritage of the European Union.
5

POROVNANIE VEDUTY BRATISLAVY NA FRESKE V PALAZZO VECCHIO VO FLORENCII A JEJ HYPOTETICKEJ PREDLOHY POMOCOU PRIESTOROVEJ TRANSFORMÁCIE

86%
Stopková E.
ARS
|
2016
|
vol. 49
|
issue 1
68 – 81
EN
The paper outlines an analysis of compliance of historical panorama representation using spatial transformation. Although this method deals usually with maps, the reliability of this unconventional experiment may be supported by theoretical principles of cartography and descriptive geometry. The fresco has been spatially transformed using a geo-referencing tool, e.g. it was given spatial positions according to the points identified on the drawing as well. The purpose was to quantify the differences of the artworks. A way to implement exact mathematical methods in historical research was demonstrated. The geospatial approach was forced to abandon the usual point of view and to perceive a kind of geographic data from the position of an artist – landscape painter.
6
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Studying the early modern landscape in the Czech Republic

72%
Chodějovská E.
Historická geografie (Historical Geography)
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2012
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vol. 38
|
issue 1
63-98
EN
The study surveys the current state of Czech research in historical landscape across academic disciplines in the early modern period in the Czech lands (16th to 18th century). It notes the most important lists and editions of cartographic and iconographic material as well as periodicals and monographs, which are devoted to the study of individual sources. It also mentions research into historical landscape in the focused period and also on-going projects.
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