Praha -Besançon Rudolf II. a sbírka rodiny de Granvelle Předložená práce se věnuje části sbírky rodiny de Granvelle, kterou mezi léty 1589-1601 postupně získal císař Rudolf II. Na pozadí historických událostí rodina de Granvelle během čtyř generací zažila strmý společenský vzestup i pád. Nicolas a jeho syn Antoine de Granvelle zastávali významné funkce na dvoře Karla V. a později Filipa II. Během této doby dokázali vybudovat jednu z největších a nejkvalitnějších sbírek 16. století, zároveň však byli svědky jejího rozprášení během nizozemské revoluce a postupného rozprodeje v prvních desetiletích 17. století. V současné době jsou známé pouze dvě hlavní cesty rozprodeje sbírky. Větší z částí se podařilo zachovat v Besançonu. Počtem, nikoli však významem, menší část se dostala do sbírek císaře Rudolfa II. v Praze a následně sdílela další osudy sbírek Pražského hradu. Předkládaná práce v první části podává kritický přehled dosavadní literatury věnované dané části sbírky požadované Rudolfem II. Pro českého čtenáře většinou není dostupná ani většina historicky orientovaných textů o členech rodiny, následuje proto stručný přehled jejího vzestupu, pádu a mecenariátu. Zároveň se představuje kontext, v jakém sbírka vznikala. Ústředním bodem práce je kapitola věnovaná příběhu Rudolfovy postupné akvizice....

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Caspar Lehmann is one of the most significant personalities of applied arts in central Europe at the end othe 16th and the beginning of 17th century. As an engraver of glass and precious stones he worked at the court of emperor Rudolf II. in Prague, but also at the court of the elector Christian II in Dresden. Considerable interest in his work was caused mainly by the claim of Joachim von Sandrart from 1675 stating that Caspar Lehmann was granted a privilege for glass engraving. Discovery of a signed beaker in late 19th century further sparked the existing interest in his production. Based on the similarities with the beaker, several other works were subsequently attributed to Lehmann, despite significant differences in quality and style of engraving. The present work summarizes Lehmanns life based on a thorough study of previous literature and archive materials. Main part of the work includes detailed analyses of 26 artifacts which were previously attributed to Lehmann. Based on their comparison it attempts to define a characteristic technique Lehmann used for carving, and subsequently to critically assess his authorship. The thorough comparisons of the existing objects suggest that three portrait pannels (Moritz von Oranien, Johann Sigismund von Brandenburg, and Johann Friedrich von Württemberg)...

The subject of this diploma thesis is the characterization of distinguished person of the Czech history of the emperor Rudolf II. Emphasisis placed on the individual factors, that influenced the government of Rudolf II. and his court. I focus on Rudolf's collection of art, his interest in alchemy and astronomy. I also deal with significant fraternal problems, relations with women and how was Rudolf II. influenced by his mental illness. I focus the various aspects that most influenced the personality of Rudolf II. The aim of the thesis is to point out the family and social relations of Rudolf II., which were most signed by his government. This thesis also characterize the contradictory personality of Rudolf II. and why in our nation is Rudolf II. popular and distinctive personality from the Habsburg family.

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In Western Europe during the sixteenth and seventeenth centuries, collections were created as repositories of art, technology, ethnographic curiosities and natural wonders. Collecting first became a widespread practice among Italian humanists of the late Renaissance who, influenced by the work of Pliny, were driven by the desire to understand the world through the acquisition of universal knowledge. The physical configuration of such encyclopedic projects could be found in the museums created to organize and assimilate the explosion of knowledge experienced during this period.This thesis addresses the social significance of accumulating an encyclopedic collection in the form of a large, public art museum at the turn of the twentieth century, discusses the Rudolfine Kunstkammer contextualized in a broad history of collecting prior to and including the Renaissance and compares the Metropolitan Museum of Art to the Kunstkammer in terms of how similarly or differently the collections communicated a combination of political, social, economic and cultural power.

This work deals with Carl Luython's madrigal composition. Carl Luython was composer and organist at the court of Rudolph II. Part of this work is a critical edition of the first book of madrigals of Carl Luython and deeper analytical probe into the two selected madrigals: Due rose fresche a Io mi rivolgo indietro. Key words Luython, Petrarca, Rudolph II., Prague, madrigal, edition, analysis

The capture of image of the Emperor Rudolf II., his social surroundings and settlement in a historical science was the aim of the thesis called "Rudolf II. in the image of German-language belles-lettres and drama of 19th and 20th Century". Afterwards this image was compared by historical drama Ein Brudezwist in Habsburg by Franz Grillparzer and by two pieces of belles-lettres literature Der Engel vom westlichen Fenster by Gustav Meyrink and Nachts unter der steinernen Brücke by Leo Perutz. The all above mentioned pieces were used as the basic source of this Thesis, their interpretation is based on methodological concepts of memory. This Thesis is presented as a case study, which could become starting point for systematic research of the second life image of Habsburg monarchs in the future.

Many portraits of Rudolf II were painted and created during his lifetime, forming a significant component of Rudolfine art, however, they have not received a sufficient art historical attention. They document, at times at stylyzed manner, the transformation of Rudolf's appearance. However, their most important task was to demonstrate and make tangeable Rudolf's authentic appearance to the world and to celebrate his magnanimity and personality. Thus, there are many portraits that represent Rudolf as a good emperor or a brilliant commander, although, as we know, they did not correspond to reality. A special chapter of the portrait iconography also create complicated allegories about Rudolf's reign relying on representations of personifications, mythological and animal symbols using Rudolf's personal impresa. Most of the portraits follow former portrait types typical for the 16th century, as bust, standing figure or equestrian monument. However, the peculiarity for Rudolfine portraiture is the allegorical portrait Rudolf as Vertumnus painted by Giuseppe Arcimboldo that combines classical portrait with allegory.

(in English): Only one of many Ancient Roman novels that were written during antiquity has survived to this day. Apuleius' Metamorphoses could have easily been lost too as it was overlooked by the Carolingian renaissance and at one point existed only in a single copy. Luckily it was found and rediscovered for the Italian Renaissance by one of the so called bookhunters in the 14th century. After that it did not cease to inspire many works of art from literature to paintings. The story of Cupid and Psyche that comes from this book was used to decorate many representational rooms from the early Renaissance on, until at least the 19th century. It seems to have been especially popular at the court of Rudolf II and it represents one of the typical mythological themes with a strong erotic potential. We can trace its roots to Italy where the novel was brought back to the literary scene. The most important visual sources, that played at least an equally important role in the dissemination of the motive through Europe as literature, also come from Italy. Especially Rome and Raphael's frescos in villa the Farnesina influenced generations of Italian as well as foreign artists. Bartholomeus Spranger, Joseph Heintz and other future court artists of Rudolf II were no exception. The antique city and antique novel...