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Copyright © The Author(s), 2018. Published by the Faculty of Arts of J. E. Purkyně University in Ústí nad Labem in cooperation with National Heritage Institute, the territorial expert workplace in Ústí nad Labem.
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Eagle and Lion – memorials of the Great War in Louny and Žatec regions as an expression of national identity
Jiří Bureš – Marta Pavlíková
Eagle and Lion – memorials of the Great War in Louny and Žatec regions as an expression of national identity in Monumentorum Custos 2018, pp. 5–16; Studies
Studied collection of memorials in Louny region includes more than 120 objects, it was created in the years 1919–1938. Due to the national composition of this area, the collection includes memorials created in places with a predominance of the Czech population and monuments of Czech Germans. Memorials of both groups were created in a similar way, mainly by the initiative of association organizations and their joint cooperation within so-called memorial committees. In both groups we could find works of varying quality ranging from ordinary craft production to works of renowned authors (Emanuel Kodet, Emil Dufek, Johann Adam Mayerl, Johannes Watzal). The memorials of the Great War were gradually supplemented by numerous squares, parks, rural green areas and cemeteries and became an integral part of our settlements. These memorials can be seen as remarkably stratified monuments whose fates reflect complexity of historical development in our area throughout the 20th century.
Garden of the Dukes of Saxony-Lauburg in Ostrov depicted in written sources
Michal Vokurka
Garden of the Dukes of Saxony-Lauburg in Ostrov depicted in written sources in Monumentorum Custos 2018, pp. 17–28; Studies
The research of the Ostrov garden and its development under the Dukes of Saxony-Lauenburg and the Margraves of Baden was still largely done by art historians and conservationists. They have mostly taken account in available visual sources, particularly the engravings by Zacharias Lesche from the mid 17th century, and a picture by Johann Michael Sockh from the year 1715. The existence of rich pictorial documentation suppressed researchers’ need to work with written sources, which means both archive material as well as published texts that mention the garden. In this article I present three types of written sources that can be used for study. The first source is an official material including bills, inventories, estate descriptions and instructions to gardeners. Then there are at least three narrative accounts of people who saw the garden with their own eyes. Despite the fact that the literature used to work with the translation of one of them, a very colourful description from Cardinal Harrach’s diaries was completely omitted. The third type are mentions in tractates about garden architecture, in topographic works and in travel guides. The authors of these texts sometimes knew the garden, sometimes they only took over from other sources. What is common to all of them is a reference to the once famous garden, which was accessible to visitors, nevertheless had lost its beauty long time ago. The complex was more famous for its park design then.
Combination of the presented written sources with well-known visual material offers researchers new opportunities for their work. The sources provide us with detailed information about location of several hundred works of art in the garden and explain their meaning that combines ancient motifs, Marian piety, but also a number of military elements.
Medieval architecture of the Church of St. Jiljí in Vinařice
Jaroslav Skopec – Jan Mareš
Medieval architecture of the Church of St. Jiljí in Vinařice in Monumentorum Custos 2018, pp. 29–42; Studies
A lot of new information about a medieval form of the church was gained on the basis of documentation and research which was carried out before and during the repair work of a facade of the presbytery of the Church of St. Jiljí in Vinařice. The findings also gave an impulse for further surveys which significantly expanded the knowledge of the overall shape of the church in the late Middle Ages.
We can imagine the Church of St. Jiljí in the Middle Ages as a typical sacral building with a rectangular flat-ceilinged nave and a narrow arched presbytery with a five-sided octagonal closure. The absence of a tower is common, and if there were a sacristy we could look for it in a traditional place along the northern side of the presbytery, on the place of the today existing one. To this early building stage of the church surely belong a triumphal arch, vaults of the presbytery and three pointed window openings at the end of the presbytery. Theoretically we might consider the existence of two openings in the southern side.
Such an image of the church shape ranks it among the characteristic high Gothic churches built in the 14th century with a polygonal presbytery in Louny region. The origins of the church can be traced sometime between the turn of 30’s and 40’s of the 14th century, when so-called polygonal presbyteries started to appear as a part of churches in Louny region and the year 1352, when the church is directly mentioned for the first time. Several features such as groin vaults in widely used pear profile, even more sharp-pointed arches of the triumphal arch, intergroin vaults and a diagonal of the presbytery vault, these all refer to above mentioned period of time.
The church underwent significant reconstruction work in the 40’s of the 15th century, which consisted of building a new roof truss and a beamed ceiling in a nave with a central lenghtwise girder, with a central pillar and perhaps a repair of the presbytery walls. Last but not least is a question whether this renovation involved also a repainting of facades with grey painted chambranles and illusive corner reinforcement. Period classification of this adjustment is problematic as it is not very characteristic for a certain period. The combination of grey painted chambranles and corners with white painted areas was popular for quite a long time in the late Gothic and Renaissance of the 16th century when this construction activity was also supposedly carried out. However, even today white-painted hoods of the presbytery’s vault were painted with murals in Middle Ages, which were discovered during repairs in the year of 1896.
Rather than as an adjustment, we could consider this construction activity as a repair or restoration of the church after the Hussite wars, when it could have been unkempt, damaged and in poor condition. If this is the case then the church can be classified as a locality where relatively intensive building activity was implemented in the post Hussite period (e. g. church in Chouč, Sulejovice, Račiněves, Medvědice, Lounky, St. Peter’s church in Louny) and confirms the assumption that major repairs were done after the Hussite wars.
Stucco decoration of the interiors of the chateau and church of the Holy Trinity in Zahořany near Litoměřice
Vít Honys
Stucco decoration of the interiors of the chateau and church of the Holy Trinity in Zahořany near Litoměřice in Monumentorum Custos 2018, pp. 43–52; Documents
The study deals with so far a little-known stucco decoration of the interiors of the chateau and church of the Holy Trinity in Zahořany near Litoměřice. On the ground floor in two rooms of the southern wing and a hallway of the chateau in Zahořany has been preserved late Renaissance stucco decoration with character of communicating entities. Some details in decoration show similarity to the stucco decorations of the arcade corridor in the central part of the first floor of the main building of Teplice chateau. This decoration was done in the period of Renaissance reconstruction of the chateau under Radslav Vchynský of Vchynice at the turn of the 16–17th centuries. With regard to the same ownership of both buildings under Vilém Vchynský of Vchynice, we could assume that the stucco decoration of the chateau in Zahořany came into existence around 1630; however its modelation shows besides a number of repair work also several layers of newer coats of paint. On the first floor of the eastern wing of the chateau there is a late Baroque stucco relief decoration with military themes and corner figures on the flat ceiling of the hall. These were partially derived from the later editions of Iconology of César Ripa from the period of the reconstruction of the building by Heřman O’Gilva around 1710. The most valuable is the early Baroque stucco decoration of the vaults of the Holy Trinity Church, hypothetically associated with Bernard Spinetti. Despite later partial additions this stucco is a dominant element of interior decoration in this early Baroque sacral building and, thanks to the reflection of some progressive influences of perhaps Prague centre, it exceeds borders of the region with its importance. Material analysis showed that it is a lime stucco with a smaller addition of gypsum and in the oldest layer was proved existence of orangery ocher shade on a molding. Character of the church interior was completed in 1766 with addition of a main altar made of artificial marble by Martin Hennevogel of Litoměřice and four side altars made by the same technique at about the same time.
Small monuments in the village of Dolní Zálezly (district of Ústí nad Labem)
Jan Leibl – Martin Zubík
Small monuments in the village of Dolní Zálezly (district of Ústí nad Labem) in Monumentorum Custos 2018, pp. 53–68; Documents
There are a number of small municipalities in the Czech Republic, which do not have large and important monuments such as churches, chateaus or else outstanding mansions in their territory, but there might be small monuments of various origins, age and quality. Such a municipality is also Dolní Zálezly in the Ústí nad Labem district. Text presented here tries to fun-ction as a catalogue of all small monuments in the territory of Dolní Zálezly, it brings their history and adds a detailed description. The text is the result of thorough archival and field research. After a short introduction about history of the village follows the catalogue itself, which is sorted by types of monuments and chronologically within them. Here we find chapels, tombs, monuments, statues, crosses and other monuments that are difficult to classify into the above categories.
These small objects in villages and landscape are important for their spiritual, historical and also artistic significance. The most valuable pieces of art in Dolní Zálezly are the statue of St. John of Nepomuk and Ecce Homo statue. Unfortunately, the baroque statue of St. Joseph was destroyed, otherwise it would form a valuable piece of art together with the sculptures mentioned. The modern cast, that replaced it, is a characteristic product of devotionals without much artistic value, but together with the original Baroque plinth, although deprived of much of its original artistic concept, it cultivates the public place.
The only standing chapel from original three is also deprived of its former village square chapel status. It’s pure simplicity of the Baroque building with classicist elements is lost under well-intentioned but unprofessional construction interventions. Nevertheless, esthetically it looks very good on the village square in combination with a small bell tower.
Other small objects – monuments commemorating war, mentioned bell tower, central cross or selected tombstones on the municipal burial ground are mainly historical witnesses of their time and make today, as once, so much sought after genius loci.
History of constructions for growing hop and much more
Michal Jirman
History of constructions for growing hop and much more in Monumentorum Custos 2018, pp. 69–76; Documents
The article aims to answer the basic question: Where did the so-called Wire wool come from to our hop fields? Long-term research suggested that hop constructions were invented in Bavaria, from where they came to us in the second half of the 19th century. This article adapts and clarifies this statement. It is true that hop constructions began to be introduced in a greater extent in Bohemia after the World Hop Exhibition in Nuremberg in 1877. The popularization of hop constructions was due to the Bavarian businessman Friedrich Wirth.
But he was not the first to come up with this idea. The first published experiments were conducted by Moriz Rochel at hop fields near Graz in Austria in the 1830’s and 1840’s. He was inspired by twining of grapevine and tried a similar construction on a hop field. His idea was profitable and saved a lot of work and material, but unfortunately it sank into oblivion and was waiting to be rediscovered.
However, the article attempts to describe a character of hop fields in the “pre-wire” period, roughly from the beginning of the 18th century. The economic handbooks show perfectly the shift of hop growing in time and in regions, when Czech hop is always, when compared to others, on the first places. The hop garden, especially in Saxony regions, served rather as a supplying or kitchen garden and it was not produced in bulk. The need to grow hop in large amounts only came with rationalization of farming and introduction of industrial breweries. The hop garden long lasted using only a pole constructions. The plant simply twined and was tied to a pole that supported it.
The whole paper is supplied with a note apparatus, which can also serve as a historiographical guide for other hops researchers. I have assessed at least briefly all available and important economic handbooks and critical articles from the beginning of the 18th century to the turn of the 19th and 20th centuries.
Duchcov Castle as a memorial of the Wallenstein Epic? Installation in the southern wing and the concept of its presentation
Marian Hochel
Duchcov Castle as a memorial of the Wallenstein Epic? Installation in the southern wing and the concept of its presentation in Monumentorum Custos 2018, pp. 77–99; Documents
State Chateau Duchcov is an important monument quite popular due to its rich history and valuable heritage fund. Since the mid-sixties of the last century has been carried out a renovation of the chateau including an entire chateau complex. Its aim was to open the premises to public and use them for various cultural and social occasions. The main target of implemented renovation works was to rectify inappropriate interventions from previous years and to restore the interior and exterior spaces to their original form. After opening of new sightseeing routes in 2011, a number of surveys and renovation of the interiors in the nobile piano of the southern wing of the chateau were done with a plan to open it to the public. In 2017, the concept of a new interior installation and presentation of these premises was finalized, based on a survey of archive sources, furniture from the National Heritage Institute fund s and other sources. The new exposition in the form of an allusive interior installation was to accentuate topics that were not given sufficient attention on the already accessible guided tours of the chateau for conceptual or capacity reasons. However still these topics carry a key meaning for historical presentation of both the Duchcov castle and the region. Thematically, the new installation was aimed at commemorating particular historical personalities of the Wallenstein family, who were the original owners of the Duchcov estate, and at the same time to present the culture of living and lifestyle at their noble residence. What was crucial for the preparation of this installation were preserved and restored historical wall paintings in the interiors of rooms no. 147 to 155. These date back to the period which is historically significant for a style and type-fitting furniture in the installation. Another iconographic source and starting point for the installation of three rooms in a ladies apartment were three colored documentary paintings by Amalie von Peter (1807–1853), depicting the relevant interiors in the years of 1849–1850, bought in 2018 by the National Heritage Institute from private collections. These period pictorial sources were first identified and evaluated for the benefit of the heritage object they documented.
Exhibition "Architecture in the Service of the First Republic in the Ústí nad Labem Region"
Marta Pavlíková
Exhibition "Architecture in the Service of the First Republic in the Ústí nad Labem Region" in Monumentorum Custos 2018, p. 101; Seminars, Conferences, Events
On the occasion of the 100th anniversary of the founding of the Czechoslovak Republic, the Ústí nad Labem Territorial Department of the National Heritage Institute prepared the exhibition Architecture in the Service of the First Republic in the Ústí nad Labem Region, which presented 60 modern buildings to the public.
"Sola Fide – By faith Alone. Lutheran Nobility and Its Heritage in the Děčín and Ústí nad Labem Regions"
Táňa Šimková
"Sola Fide – By faith Alone. Lutheran Nobility and Its Heritage in the Děčín and Ústí nad Labem Regions" in Monumentorum Custos 2018, p. 102; Seminars, Conferences, Events
On 25 April 2018, an exhibition focusing on the artistic and architectural legacy of Saxon noble families whose artistic production was significantly influenced by Lutheranism in the 16th century was opened at the Děčín Castle. The exhibition focused mainly on the knightly families of Salhausen and Bünau, who made a significant mark on the history of the Děčín and Ústí nad Labem regions.
Student Practice 2018 in Konojedy in Úštěk
Vít Liška
Student Practice 2018 in Konojedy in Úštěk in Monumentorum Custos 2018, p. 103; Seminars, Conferences, Events
In the period 21-31 May 2018, the professional practice of students of the Documentation of Monuments and Cultural History at the Department of History of the Faculty of Arts, UJEP in Ústí nad Labem took place. Ten teaching days took place under the guidance of Kamil Podroužek, PhD and other employees of the Centre for Documentation and Digitization of Cultural Heritage at the Faculty of History, UJEP. This year the subject of interest and detailed research was Konojedy in Úštěcko and the nearby village of Merboltice.
Documentation of the Colour of Plaster Layers and Selected Stucco and Stone Elements in the Garden Area of Stekník Castle
Anna Lišková
Documentation of the Colour of Plaster Layers and Selected Stucco and Stone Elements in the Garden Area of Stekník Castle in Monumentorum Custos 2018, p. 104; Seminars, Conferences, Events
Between 1 February and 22 March 2018, the Centre for Documentation and Digitisation of Cultural Heritage at the Faculty of Arts of Jan Evangelista Purkyně University in Ústí nad Labem carried out documentation of selected elements in the terraced gardens of Stekník Castle. These included the stucco decoration of the southern and northern entrance gates, small point de vue architecture on the southeast and west of the enclosure wall, the cover plates of the enclosure wall pillars and the crown of the enclosure wall, the type sandstone vase on the bust of the eastern part of the upper terrace of the western garden and the preserved Baroque plasterwork of the enclosure wall.
Terezín Ghetto – Documentation of the Residential Attic in the Attic of House No. 24
Jan Horák
Terezín Ghetto – Documentation of the Residential Attic in the Attic of House No. 24 in Monumentorum Custos 2018, p. 105; Seminars, Conferences, Events
In mid-April 2018, the Centre for Documentation and Digitization of Cultural Heritage of the Faculty of Arts of Jan Evangelista Purkyně University in Ústí nad Labem participated in the documentation of the wall paintings in the attic of house No. 24 in Dlouhá Street in Terezín.