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1

„…když se pán voli v Praze na rathúzi…” Programy ideowe ratuszy a działania legitymizujące prawa do tronu czeskiego w XIV–XV wieku

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Czechowicz B.

Historica: revue pro historii a příbuzné vědy (Historica: Review in history and related sciences)

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2015

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vol. 6

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issue 1

27-42

EN

The article refers back to the author’s earlier publications revising some of them. It relates to the current discussions on the ideological functions of late medieval town halls. The author’s proposition is to perceive their programmes as political ones not only as an indication of the town’s dependency to a certain ruler or dominion (country) but also as a means of the ruler’s legitimization. The 15th century towns attained a position unheard-of before or after which can be perfectly seen in the Czech country at that time. The king’s elections took place in the Town Hall in Prague and in the Town Hall in Wrocław the decision of his approval used to be made. The Town Hall’s decoration in Wrocław and in a smaller amount in Świdnica too, provides evidence for political elections and decisions made in them. It used to be a scenery for state level events proving them sometimes in the most exquisite way.

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Panowanie króla Jerzego ze śląskiej perspektywy (w 550. rocznicę śmierci monarchy)

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Czechowicz B.

Śląski Kwartalnik Historyczny Sobótka

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2021

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vol. 76

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issue 3

109-129

EN

This review article presents the reign of George of Poděbrady, King of Bohemia, from a Silesian perspective, therefore contrary to dominant Bohemocentric option. The author also opposes the historiographic myths created by the Czech researchers, in which George of Poděbrady is nearly adored, without any deeper attempts of critical assessment of his reign. After all, its outcome was tragic and the blame must be put not only on Wrocław, which was the core of the opposition to his rule. The king himself failed to avoid several mistakes – he probably lacked the political horizons of his predecessors from the Luxembourg dynasty of the Bohemian throne.

3

The uncrowned “Bohemian king” and his “bible” castle. Blatná as commisioned by the highest burgrave of Prague castle, Zdeňek Lev of Rožmitál, around the years 1520–1530

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Czechowicz B.

Res Gestae. Czasopismo Historyczne

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2023

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vol. 15

50-66

EN

This article presents a new interpretation of the ideological message of Blatná Castle after its expansion by Benedikt Ried, commissioned by Zdeňek Lev of Rožmitál around 1520–1530. The key to deciphering the biblical code of the residence of this powerful magnate is found in two columns standing in front of the castle façade, which have not been included in previous research. Their dilapidated state, as well as residually legible profile forms and ornaments, un equivocally point to their dating back to the time of Ried’s expansion. In the history of art, they are a well- known imitation of the bronze pillars of Jachin and Boaz, placed in front of the Old Testament Temple of Solomon. The expressive oriels of the part of the castle erected by Ried may be a reference to a diagram similar to a pentagram, often appearing on the pages of codices called the clavicula Salomonis. In the beginning, they contained the instructions of the great biblical king to his son Roboam. This is reflected in the family situation of the builder, as it is generally agreed that Blatná Castle was built by Zdeněk Lev in connection with the marriage of his son Adam. References to Solomon were quite common at the time, both at Prague Castle and at the residences of several Silesian dukes. They should not be surprising in the case of someone who, for more than 20 years (1507–1530), was the most important person in the state after the ruler (the highest burgrave of Prague Castle). Zdeněk Lev was a very active and influential politician with a Catholic orientation and nationalist, Bohemian disposition, who liked to moralize and judge and use biblical examples or episodes from Bohemian history.

4

Księstwa świdnickie i jaworskie a sukcesja na tronie czeskim w dobie Zygmunta Luksemburskiego. Przyczynek do dyskusji o znaczeniu przestrzeni symbolicznej w późnośredniowiecznym państwie czeskim

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Czechowicz B.

Śląski Kwartalnik Historyczny Sobótka

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2013

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vol. 68

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issue 3

23–37

EN

In this article, concerning the recently published study of Martin Čapský, an attempt is made to show the relevance of Świdnica to the formation of the concept of succession in the Bohemian Crown outside the core of the Crown that being Bohemia (Czech Kingdom) in Silesia. In these actions, focusing mainly around Wrocław, of some significance was also Świdnica, as the main city of two associated areas, bordering with Bohemia, Silesian duchies linked by succession with the Bohemian Crown: the Świdnica and Jawor duchies. In the situation in which Sigismund of Luxemburg found himself after being dethroned by the Hussite movement in Bohemia in 1421, and also due to Świdnica and Jawor duchies not being an inheritance from his mother (unlike the situation with his older brother, Wenceslaus IV) of importance is the enterprising approach to the succession of the younger Luxemburg on the Bohemian throne and in the Świdnica and Jawor duchies. Świdnica and the neighbouring Jawor were ideal for this purpose, also due to decoration programs for sacral and lay buildings. In the times of Sigismund said programs, also those in Strzegom, were enhanced with new elements (decorative paintings of the City Hall in Świdnica, the Carmelite church in Strzegom). Thusly the public space of these three towns complemented the far richer, in this context, Wrocław. In time a tradition of receiving the tribute of Silesian estates by the Bohemian king in Wrocław, and the tribute of the estates of Świdnica and Jawor in Świdnica solidified. The symbolic space of the city, created in the time of last Luxemburgs constituted the perfect scenery for these celebrations.

5

Śląski akcent w czeskim dokonaniu bawarskiego artysty? [Rec. „Monogramista IP. Oltář svaté Anny Samotřetí v Českým Krumlově", red. Peter Kováč, Marek Zágora, Praha 2020]

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Czechowicz B.

Wieki Stare i Nowe

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2023

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vol. 18

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issue 23

1-10

EN

The review concerns an extensive, collective monograph on the altar of St. Anne from 1519-1524, made by a Bavarian sculptor known as Monogramist IP. The relief was commissioned by the Bohemian lord, Zdenek Lev of Rožmitál, who was a leading figure in the political life of the Crown of the Kingdom of Bohemia in the first thirty years of the 16th century. The review proposed a different motive for commissioning the work. Its content related to family and motherhood suggests that it was created as a gift from a father to his son Adam and his wife, a Silesian noblewoman, Anna Haugwitz of Biskupice, in 1518. The review emphasized the extraordinary values of the publication, both scientific and editorial.

PL

Recenzja dotyczy obszernej, zbiorowej monografii ołtarza św. Anny z lat 1519-1524, wykonanego przez bawarskiego rzeźbiarza znanego jako Monogramista IP. Relief powstał na zamówienie czeskiego magnata, Zdeňka Lva z Rožmitála, który był czołową postacią życia politycznego Korony Królestwa Czech w pierwszym trzydziestoleciu XVI wieku. W recenzji zaproponowano inny motyw zamówienia dzieła. Jego treść, związana z rodziną i macierzyństwem, przemawia za tym, że powstało ono jako dar ojca dla syna Adama i jego poślubionej w 1518 roku śląskiej szlachcianki Anny Haugwitz z Biskupic

6

Zuzana Křenková, Locus Fratrum - Architecture of Observant Franciscan Monasteries in Bohemia, Moravia, Silesia and Upper Lusatia in the Late Middle Ages, Peter Lang, Berlin 2018, ss. 536, 349 il. cz.-b.

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Czechowicz B.

Średniowiecze Polskie i Powszechne

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2022

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vol. 14

315-321

7

BONE MEMORIE PRINCEPS SLEZIE ET DOMINUS WRATISLAVIENSIS. W kwestii datowania i wymowy ideowej dzieł kamiennej plastyki związanych z pamięcią po Henryku IV Probusie

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Czechowicz B.

Śląski Kwartalnik Historyczny Sobótka

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2012

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vol. 67

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issue 2

3–17

EN

The article relates back to the issue of memory of Henry IV Probus, duke of Wrocław, in context of political actions taken in the 14th century, with main focus on artistic vessels of memory, shown here in wider than until now historical context. The first of these relics is the sepulchral monument of the duke. Largely ignored in the study of the monument manuscript IV F 193 of University Library in Wrocław contains an important argument for the change in dating of the gravestone, as proposed by Romuald Kaczmarek. Said source allows to establish the year 1328 as terminus post quem. Hitherto unnoticed during research in recent years coats of arms located on the foundational tympanum in the St. Cross collegiate church reinforce the certainty that they show the act of founding executed by Henry IV Probus and his wife. The third relic is the keystone of the so-called chapter house, presumably created during the Beer War. Its significance – contained mostly in the heraldry meaning – relates mostly to the issue of rights of succession for the new sovereign of Silesia, king of the Romans and king of Bohemia Wenceslaus IV, his rights to succeed Henry IV Probus. It presumably contained more than Wrocław with its duchy, with boarders as it had in the 15th century, but also such lands as belonged to Probus before 1290, later constituting a part of the duchies of Świdnica and of Ziębice. Such interpretation of actions taken by the king, doubtless meant to legitimise his grip on Silesian holdings, are indirectly confirmed by the chronicles from the period. Such is also the interpretation of later, early modern historiography that came to be on the territory of the Kingdom of Bohemia.

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Doba luksemburska (1310–1437) i jej habsburski epilog (1438–1457) w Koronie Czeskiej ze śląskiej perspektywy. Kilka uogólnień z okazji 666. rocznicy cesarskiej koronacji Karola IV w Rzymie

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Czechowicz B.

Śląski Kwartalnik Historyczny Sobótka

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2021

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vol. 76

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issue 1

5-24

EN

This review paper is an attempt of a general outline of the Czech history (for the whole Crown of Bohemia) from the perspective of Wroclaw, not of Prague, which is justified by the particular role of the Silesian city, which at that time rose to the role of the second to Prague capital of the state. The article is also an attempt to counter the axiology present in Czech historiography, which accentuates the Hussite period. Such “revolutionary” vision of the history of the state led to a peculiar anomaly – the royal power of Sigismund diminished almost entirely, like if the state of Bohemia ceased to be a monarchy. The present paper is also an attempt to bring back into the awareness of historians the Habsburg period in the Czech history (1438–1457), which was longer than the 13 years of the rule of king George of Podebrady (1458–1471), yet it disappears in the general view of the past. The result is the myth of Habsburg assumption of the throne of Bohemia in 1526, while it should be described as the return of the Austrian dynasty to this throne.

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Bogusław X w Czechach. Nieznane wyobrażenie szczecińskiego księcia na zamku w Písku z 1479 roku

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Czechowicz B.

Przegląd Zachodniopomorski

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2020

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issue 1

23-39

EN

The purpose of this article is to identify an unrecognized so far figure in the gallery of the 15th-century European rulers painted on the wall of the representative hall of the royal castle in Písek, South Bohemia. This painting underwent a complete conservation treatment in early 19th century, but without intervention into its contents. It represents the King of Bohemia, Vladislaus II Jagiellon (his image on the eastern wall is preserved in rudiments) in a sub-local context (a cityscape of Písek), that of the estate society of the Bohemian Kingdom (coats of arms of Bohemian nobility, for the most part aristocracy), and in the Europe’s politic space. This latter purpose serve the images of the Bohemian rulers – two predecessors of Vladislaus II on St. Wenceslaus throne (Ladislaus the Posthumous von Habsburg and George of Poděbrady), his father Casimir Jagiellon, the ruler of Poland and Lithuania, and the King of France Charles VII – all of them are signed on the ribbon labels. The name of the last of them, as well as his image, are preserved partially – it is a ruler wearing a crown, with a griffin on the shield, and a fragment of the name “uslaw”. Undoubtedly, despite the crown on his head, it is the Szczecin Prince Bogislaw X Griffin. The article doesn’t explain the reasons why this image appeared there. It only outlines the political context which can account for this situation. In 1479 in Olomouc Vladislaus II concluded a treaty with Matthias Corvinus concerning a divided sovereignty in the Bohemian Crown. The Bohemian King from the Jagiellonian dynasty in Prague was gradually coming out of the international political isolation (although in 1479 he wasn’t still recognized by the Pope) and was building his political powerbase in Europe. One element of his politics, including the definite orientation towards the North, was his marriage per procura with Barbara Hohenzollern, daughter of margrave Albrecht Achilles, to whom Bogislaw X denied to pay feudal homage. The Szczecin Prince could search support from the Jagiellons, on whose court in Cracow he was raised. The question of the feudal relation of Pomerania to Brandenburg probably had to be confronted with the problem of the earlier feudal dependence of the feudal rule of the Hohenzollerns from the Bohemian Crown, de facto effective until 1415, de jure rather still in force as the Bohemian Crown Archive carefully kept documents which specified the obligations of the Hohenzollerns towards Prague. The Písek painting came into existence in the royal castle which, however, was at the time a collateral of the Bohemian aristocrat Lev of Rožmitál (Rosmital), brother of the Bohemian queen Joanna (wife of the Vladislaus II’s predecessor, George), who was an outstanding diplomat, member of a mission to France, pilgrim to the Holy Land, perfectly knowledgeable of the nuances of politics of that time. The painting demands deeper analysis in the light of the Prague politics oriented towards Brandenburg-Pomerania, as well as the Bohemian associations of the actions undertaken by prince Bogislav X, who was connected, as it turns out, to the Bohemian milieu not only by the bishop of Kamieniec Pomorski, Benedykt of Waldstein, who floruit after the painting was made.

PL

Celem artykułu jest identyfikacja nierozpoznanej dotąd postaci, którą umieszczono na ścianie reprezentacyjnej sali królewskiego zamku w Písku (południowe Czechy), w galerii piętnastowiecznych władców europejskich. Dekoracja ta powstała w 1479 roku, gruntownej konserwacji została poddana na początku XX wieku, jednak bez ingerencji w treść malowidła. Jego treścią jest bowiem ukazanie króla Czech Władysława II Jagiellończyka (wizerunek władcy na ścianie wschodniej zachował się szczątkowo) w kontekście sublokalnym (weduta Písku), społeczeństwa stanowego Królestwa Czeskiego (herby czeskiej szlachty, przeważnie magnaterii) oraz w przestrzeni politycznej Europy. Temu ostatniemu celowi służyły wizerunku władców czeskich – dwóch poprzedników Władysława na tronie św. Wacława (Władysław Posthumus z Habsburgów i Jerzy z Podiebradów), nadto jego ojca Kazimierza Jagiellończyka, władcy Polski i Litwy oraz króla Francji Karola VII – wszyscy oni są opisani na banderolach. Imię przedostatniej postaci znajdującej się na malowidle, jak i sam jego wizerunek, zachowane są częściowo – jest to władca w koronie, z gryfem na tarczy i fragmentem imienia „uslaw”. Niewątpliwie, chodzi o księcia szczecińskiego Bogusława X Gryfitę, choć nie był to koronowany dynasta. W artykule nie wyjaśniono przyczyn pojawienia się tego wizerunku. Naszkicowano jedynie kontekst polityczny, który może tłumaczyć tę sytuację. W 1479 roku Władysław II zawarł w Ołomuńcu układ z drugim królem czeskim, zarazem władcą węgierskim Maciejem Korwinem, w sprawie dwuwładzy w Koronie Czeskiej. Praski król czeski z dynastii jagiellońskiej powoli wychodził z międzynarodowej izolacji politycznej (choć w 1479 r. nadal nie był uznawany przez papiestwo) i budował swoje zaplecze polityczne w Europie. Elementem tej polityki, w tym silnego orientowania się na północ, był ślub króla per procura z Barbarą Hohenzollern, córką margrabiego Albrechta Achillesa, któremu Bogusław X odmawiał wówczas złożenia hołdu lennego. Szczeciński książę mógł szukać oparcia u Jagiellonów, na krakowskim dworze, gdzie się wychował. Kwestia stosunku lennego Pomorza wobec Brandenburgii musiała prawdopodobnie wynikać z dawnej zależności lennej, de facto obowiązującej do 1415 roku, de iure – wciąż chyba aktualnej, skoro w czeskim archiwum koronnym z pieczołowitością przechowywano w czasach Władysława II dokumenty świadczące o dawnych zobowiązaniach lennych Hohenzollernów wobec Pragi. Píseckie malowidła powstały na zamku królewskim, ale pozostającym wówczas w zastawie czeskiego magnata Lva z Rožmitala (Rosmital), brata królowej czeskiej Joanny (żony poprzednika Władysława II, Jerzego) i przedniego dyplomaty, m.in. uczestnika misji do Francji, pielgrzyma do Ziemi Świętej, człowieka doskonale zorientowanego w niuansach ówczesnej polityki. Dekoracja ta skłania do głębszego przeanalizowania brandenbursko-pomorskiego kierunku ówczesnej praskiej polityki, jak też czeskich asocjacji poczynań księcia Bogusława X, którego, jak się okazuje z czeskim środowiskiem wiązała nie tylko osoba biskupa kamieńskiego Benedykta z Valdštejna (Waldstein), który zresztą przybył na Pomorze już po powstaniu omawianego malowidła.

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Odra. Most. Granica. The Oder as a bridge. The Oder as a frontier [katalog wystawy w Centrum Historii Zajezdnia we Wrocławiu], Wrocław 2022, ss. 100, il. kolor. i cz.-b.

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Czechowicz B.

Śląski Kwartalnik Historyczny Sobótka

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2022

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vol. 77

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issue 4

133-138

11

Paweł Jaworski, Małgorzata Ruchniewicz, Przemysław Wiszewski, Kraina stawów? Dzieje Milicza i okolic (do 1945 roku), Kraków–Wrocław 2019 (Historia obok. Studia z dziejów lokalnych/ History next to. Local past studies, 16), ss. 490 + 26, il. cz.-b. i kolor., mapy, tabele

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Czechowicz B.

Śląski Kwartalnik Historyczny Sobótka

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2020

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vol. 75

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issue 3

188-195

12

Wokół społeczno-prawnych uwarunkowań i jerozolimskich asocjacji kościoła opackiego w Henrykowie

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Czechowicz B.

Hereditas Monasteriorium

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2012

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vol. 1

73-84

EN

The most unusual architectural feature of the Cistercian abbey in Henryków is the asymmetrically situated tower from 1608. It was erected by the foundation of abbot Nicolaus Hibner, placing the whole figure epitaph of the founder on it. The inscriptions included comment on the sense of the creation through the fragmenst of travesty of Psalm 26 and Proverbs of Solomon. In the light of above, the tower can be interpreted in the eschatological context associated with the memory of the abbot-founder, but also in the socio-political structure of the Duchy of Münsterberg (Duchy of Ziębice). The rank of the convent was based on the grants, privileges and their confirmations achieved through the centuries; inevitably, it was anchored in the near or distant past. Built in after Trident era, Gothic in its expression, the tower – the eternal symbol of power and security – stands as a monumental artistic parallel of those anchored in the medieval past grants. The comparison with the drawings from 1486 indicates that the facade of the abbatial church, enriched with a tower and domed vestibule from 18th century, could have been formed over many decades in reference to the temple concealing the tomb of Lord. The literary (historiographical) legacy provides several examples of identifying of Cistercians, also those from Henryków, with the Chosen People. The references to the Jerusalemite topography can be found on the epitaphs of two 16th century Cistercians from Henryków. Concerning the church in Henryków as such, there are not as legible, however, there must be drawn a question about the shape of medieval chapel of st. James, situated on the axis of the temple, which from 1760–1762 was replaced with elliptical chapel of st. Mary Magdalene, in which the medieval tomb of abbey benefactors was placed – The Duke Bolko and his wife Judith (Jutta).

13

Fara w mieście od średniowiecza do współczesności. Społeczność – Duchowość – Architektura – Wystrój. Studia z historii sztuki, red. Rafał Eysymontt, Dariusz Galewski, Wrocław 2019, format A4, ss. 314, liczne il. cz.-b. i kolor., indeks.

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Czechowicz B.

Śląski Kwartalnik Historyczny Sobótka

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2020

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vol. 75

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issue 4

147-169

14

Joanna Nowosielska-Sobel, Grzegorz Strauchold, Przemysław Wiszewski, Gmina Milicz. Atlas materiałów i źródeł historycznych, Wrocław: Uniwersytet Wrocławski, 2019 (Historia obok. Studia z dziejów lokalnych, 17 / History next to. Local past studies, 17), format A4, ss. 112 (łącznie z okładką!), ill.

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Czechowicz B.

Śląski Kwartalnik Historyczny Sobótka

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2020

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vol. 75

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issue 2

155-159

15

W historiograficznym cieniu? Czternastowieczni Piastowie z linii opolskiej między Krakowem a Pragą.

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Czechowicz B.

Res Gestae. Czasopismo Historyczne

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2013

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vol. 13

68-77

PL

Piotr of Byczyna wrote in his work Cronica principum poloniae (dated at end of the 14th century) about the impossibility of information about Piasts of Opole. The medieval Silesian historiography did not devote them much attention. However, it does not have to mean that they were of low historic importance. It is suggested by the analysis of creations such as the duke’s mausoleum in St. Anna’s chapel in the church of Franciscans in Opole. The tombs from the years 1379–1382, by presenting three generations of local dukes are a manifestation of documenting, in the form of monuments, the revindication policy whose aim was to unite the once magnificent Duchy of Opole that had been dispatched since the end of the 13th century. Self-awareness and political ambitions of the dukes of Opole can be supported by not only spectacular and well-known doings of Vladislaus II of Opole (+1410) but also, among others, by the attitude of Bolko I of Niemodlin, who in the years 1358–1359 advised emperor Charles VI on the appropriate way of proceeding in his court dispute with the bishop of Wroclaw. Other manifestations of the dukes’ power include a crown that appeared on the seals of the rulers from Opole, and a peculiar similarity between the seal of duchess Euphemia of Niemodlin and the seal of Louis I of Brzeg and – at the same time – the Wroclaw starost seal of Charles IV with the bust of the emperor. Dukes of Opole not only manifested their aspirations for the Polish crown but also, in the person of Henry of Niemodlin, discreetly accentuated their claims to Wroclaw (Henry was a son of Euphemia, who was a daughter of the last Piast of Wrocalw, Henry IV). Their testimony is not only Henry’s document that founded the collegiate church in Głogowek, but also the form of the church that referred to the collegiate of the Holy Cross in Wroclaw. Piasts of Opole, due to their careers on the Bohemian court (for example, Bolko II of Niemodlin was a court judge in Prague) and the debt that Wenceslaus IV, king of Germany and Bohemia owed them for over 20 years, remained in close relation with the sovereign. They showed it, among others, by ornamenting the colbers of the collators’ lodge in the parish church in Kropkowice with the effigies of Wenceslaus IV and his wife. This servility distinguished the Piasts of Opole from the attitude of their relatives from Legnica and Brzeg – the employers of Piotr from Byczyna. Louis I of Brzeg, his son and nephews, in the era of the beer war or the war of priests (1380–1383) almost copostopenly competed with the the Bohemian sovereign. The difference in the attitude towards Wenceslaus could be the reason why Piotr of Byczyna not only did find any information about the Piasts of Opole but deliberately did not provide too much of it, or at least not in a seperate chapter. Fragments of information scattered throughout the voluminous chronicle caused that the Piasts of Opole underwent a historiohraphic degradation.

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„…když se pán voli v Praze na rathúzi…” Programy ideowe ratuszy a działania legitymizujące prawa do tronu czeskiego w XIV–XV wieku

Panowanie króla Jerzego ze śląskiej perspektywy (w 550. rocznicę śmierci monarchy)

The uncrowned “Bohemian king” and his “bible” castle. Blatná as commisioned by the highest burgrave of Prague castle, Zdeňek Lev of Rožmitál, around the years 1520–1530

Księstwa świdnickie i jaworskie a sukcesja na tronie czeskim w dobie Zygmunta Luksemburskiego. Przyczynek do dyskusji o znaczeniu przestrzeni symbolicznej w późnośredniowiecznym państwie czeskim

Śląski akcent w czeskim dokonaniu bawarskiego artysty? [Rec. „Monogramista IP. Oltář svaté Anny Samotřetí v Českým Krumlově", red. Peter Kováč, Marek Zágora, Praha 2020]

Zuzana Křenková, Locus Fratrum - Architecture of Observant Franciscan Monasteries in Bohemia, Moravia, Silesia and Upper Lusatia in the Late Middle Ages, Peter Lang, Berlin 2018, ss. 536, 349 il. cz.-b.

BONE MEMORIE PRINCEPS SLEZIE ET DOMINUS WRATISLAVIENSIS. W kwestii datowania i wymowy ideowej dzieł kamiennej plastyki związanych z pamięcią po Henryku IV Probusie

Doba luksemburska (1310–1437) i jej habsburski epilog (1438–1457) w Koronie Czeskiej ze śląskiej perspektywy. Kilka uogólnień z okazji 666. rocznicy cesarskiej koronacji Karola IV w Rzymie

Bogusław X w Czechach. Nieznane wyobrażenie szczecińskiego księcia na zamku w Písku z 1479 roku

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