This thesis focuses primarily on the iconographic analysis of ten medals made by Antonio Abondio, a court medallist at the court of Emperor Maximilian II and his son Rudolf II. The introductory part of the thesis dedicated to the biography of Antonio Abondio is followed by a short outline of the development of art medals production in Italy and in Central Europe and of the factors which had an impact on Abondio's work. The core of my study is an actual analysis of some selected pieces made on commission for prominent individuals of the said period. A particular emphasis is put on the images found on the reverse side of the medals and on theirs paradigm detecting.

Diploma work contains the description of the personality of the painter Bartholomeus Spranger and his work in the Czech collections. The portrait painter Bartholomeus Spranger lived from the year of 1546 to the year of 1611. He was born in Antwerpen and afterwards he was travelling around the Europe. At first he was going to the France ( Paris and Lyon ) and then he was going to the Italy ( Parma, Milano and Roma ). In the year 1575 he is called up to the Vienna and afterwards in the year 1580 to the Prague. The object of this work is an analyse of production in Czech collections and evaluate of their authorship. Futher on then the object of this work is exploration the sources of Documentary and also a critical evaluation of the used literature.

of the Dissertation The Musical Entourage of Rudolf II (1576-1612) reconstructed from the Imperial Accounting Ledgers Michaela Žáčková Rossi (2016, Supervisor: doc. PhDr. Petr Daněk Ph.D.) The proposed dissertation is undertaken as an attempt to make accessible the payments of the imperial court under Rudolf II concerning its musical life. Quite a century ago Albert Smijers published payments to the imperial musicians, but only to them of the chapel, while the other categories were considered unsystematically; but even among the "trometter", "kammermusici" and "servants on two and more horses" we find excellent composers. This dissertation, using the known sources and on the basis of new heuristics in the State Archives of Vienna, brings for the first time a complete list of all musicians of the Rudolf's court, including the period, function and wages development of their stay. Thanks to the extensive lists and graphs, it also present the specialization and career evolution of the Imperial musicians, number and quality of their extraordinary payments, bonuses etc. The conception of a first global view on the Rudolfine musical entourage in Prague will be complemented in a forthcoming monograph by a complete list of (Gnadengeld), it means "grace payments" to the musicians for their music dedications...

No description available.

The dissertation begins with an introduction about Renaissance, because Thaddaeus Hagecius lived and worked in this age. Renaissance was both an age of faith in hermetic sciences and an age of important scientific discoveries which fundamentally influenced the transformation of cosmology. My intention is to explain the characteristics of this period in the beginning of the dissertation. The next chapter is mainly focused on Hagecius's biography and an overview of his main writings. At first, I dealt with Hagecius's youth and his studies in Bohemia and foreign countries. Afterwards, I mentioned the areas that Hagecius had developed and the writings that he had published about them. I have more thoroughly expanded Hagecius's activity in medicine and astronomy because they were the main areas of his research. In another part of the chapter, I have outlined the friendship between Hagecius and Brahe. I have closed the chapter with an explanation of Hagecius's reference to alchemy. In the third chapter of my dissertation, I have introduced Hagecius's scientific efforts in four areas. These are as follow-astronomy, medicine, botany and brewing, because Hagecius contributed to these four areas with an interesting manner. These areas also show the huge diversity of Hagecius's interests.

Hans von Aachen, court artist to the Habsburg Holy Roman Emperor Rudolf II in Prague, created a series of small painting called the Allegories on the Long Turkish War. Von Aachen made the Allegories between 1604 and 1606 and Rudolf II kept them bound in a red book in his Kunstkammer. This series selects events and battles from the Long War against the Ottoman Empire, 1593-1606, to create a flattering propagandistic image of the emperor in order to strengthen his support. Rudolf’s brother, Archduke Matthias of Austria, began plotting against the emperor beginning in 1600. By 1606 he was actively usurping Rudolf’s political power. I examine von Aachen’s visual description of imperial power, the alternate history the Allegories present, and the ways they engage with Neo-Platonic theories to convey validity to viewers. In my thesis, I outline the events of the Long War in order to compare them to von Aachen’s portrayals and to understand how he restructures chronological history to convey his message about Rudolf’s rulership. I briefly analyze each painting but I focus primarily on the eighth scene, the Conquest of Székesfehérvár. Sultan Mehmed III sits opposite Rudolf II in dignified defeat in this painting. I investigate the visual treatment of the sultan through the historical interactions between the Ottoman and Holy Roman Empires and propose the political function served by depicting him as a noble enemy. I finally discuss the way von Aachen uses symbols and allegory to convey a potent message and convince the viewer of its validity. Ultimately, these works should be seen as political propaganda used to combat Rudolf’s brother Archduke Matthias’ political takeover and not as Rudolf’s fantastical escapism from his losing battle against his brother. / text

disertační práce v anglickém jazyce ALICE BARTŮŠKOVÁ MONASTIC RULES AND MUSES. THE CAPUCHIN FRIARS IN THE SERVICE OF THE ART IN EARLY BAROQUE BOHEMIA VEDOUCÍ PRÁCE: DOC. PHDR. MARTIN ZLATOHLÁVEK, PHD. Dissertation entitled Monastic rules and muses. The capuchin friars in the service of the art in early Baroque Bohemia set out for the purpose of research to the neglected theme of the Capuchin brothers - painters on the border between Mannerism and the Baroque era. This phenomenon in painting, which is not only characteristic for the order of the Capuchins, but also of other ecclesiastical orders, has never been more comprehensive. The Capuchin brother Paolo Piazza came to the Czech lands with first capuchin brothers; in his paintings he is inspired of the Venetian school of the 16th century. He was a versatile painter, he created not only painting on canvases, but also made wall paintings and his painting manuscript was not uniformly defined. Paolo Piazza worked in the capuchin monasteries in Prague and Brno during the reign of Rudolph II, for the emperor himself he created several artworks. Piazza's work has also been preserved in the engravings of the Sadeler family. Thanks to these engravings, several Piazza's compositions with a set iconographic type have spread to European fine arts. From the...

Thesis on subject of Paolo Fiammingo in Venice focuses on a personality of a Netherlandish painter, who lived in Venice the most important part of his productive life. Text of the thesis resumes knowledge on his origin, regarding existing literature it suggest, that there is not enough documentation of his staying or apprenticeship until he came to Venice. In this regards, it also concludes, that he was not famous until he took part in Tintoretto's workshop in Veneto. Thesis researches possible Tosca and Roma mannerism influences of his later works by an analysis his later work and in the light of existing literature. Main part of the thesis concerns on Paolo's sojourn in Venice, which started probably in Tintoretto's workshop. Within workshop daily praxis, he was contributing in finishing some specific commissions of his Master with his apprentice colleagues. Thesis brings some witnesses concerning workshop life and also way the completed work took from the workshop to commissioner. The other part of this work turns awareness to his independent production in Venice and its close connection to his transalpine commissions. The part concludes in suggestions concerning the case of Fiammingo and his concrete purchasers, the Augsburg merchandiser Hans Fugger and the Emperor Rudolf II. It also mentions a...

The diploma thesis "Perception of "wild man" in Bohemia in the years 1511-1612" deals with possible ways of perceiving the "wild man" in the Czech lands in the years 1511-1612. It research the figure of the wild man in the Czech folk culture, in opinions theologians, doctors, painters and European monarchs. It analyzes preserved authentic sources and original texts, summarizing the research and defines the term of "wild man". It tries to explain the causes of positive and negative attitudes of society and individuals in the Czech context. The thesis is primary focused on the imaging patients with hypertrichosis in natural science catalogs and collections of curiosities. It focused on the phenomenon Petrus Gonzales, who changed stereotypes about the wild man. To individual works collectively presents current knowledge concerning authorship, chronology, painterly submissions. Keywords Wild man, Petrus Gonsalvus, collection of curiosities, Rudolf II, history of medicine Počet znaků (včetně mezer): 137 366

This thesis contributes to our knowledge of the early (modern) Bohemian musical culture by tracing the musical production and activities at the Jesuit Clementinum college in Prague from its foundation in 1556 to the establishment of the autonomous Bohemian Province in 1623. This analysis draws on original Jesuit archival documents (diaria / diaries, memorial books, catalogi personarum / personnel catalogues, litterae annuae / annual letters, historiographical works of the period) and wider primary sources, which the author interprets within broader socio-cultural and historical realms. Authentic testimonies written in Latin that document musical activities in the Clementinum and the relationship of Prague Jesuits with music are included in the footnotes or in appendices. Individual chapters seek to illustrate (illustrare) and assess (recensere) the materials investigated from the following points of view: 1) institutional (Order, College, associated sodalities); 2) environmental acoustics (broader sound production within the spaces of the College and the rest of the city); 3) prosopographical (music prefects of the College and of the Marian Congregation); 4) surviving musical sources; 5) ceremonies with musical components (liturgical and paraliturgical ceremonies, graduations, congregational...