Monumentorum Custos 2022

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Copyright © The Author(s), 2022. 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.

Content

The discovery of a mural in the Church of All Saints in Litoměřice. Contribution to the reporting possibilities of the medieval building

Antonín Kadlec – Miroslav Kovář – Petr Macek

The discovery of a mural in the Church of All Saints in Litoměřice. Contribution to the reporting possibilities of the medieval building in Monumentorum Custos 2022, pp. 5–20; Studies

The paper discusses the discovery of a mural, which is located on the eastern wall of the southern aisle of the Church of All Saints in Litoměřice. The authors briefly deal with its context within the development of the less-recognized con­struction of the church. They come to the conclusion, based on the testimony of written sources and a cursory inspection of the building itself, that the church nave, where the painting is located, was built in the middle of the 14th century, most likely in the 1420s–1440s. However, the church is mentioned as early as 1235. It cannot be ruled out that the remains of this oldest church building could be located on the southern side of the tower, where an east-west oriented wall was identified, the construction of which preceded the middle of the 14th century. The early Gothic wall of the church presbytery, dating from about the last third of the 13th century, has been pre­served until now, but it was originally located on the northern side of the existing presbytery and was moved in the axis of the existing presbytery only in a subsequent phase. The mural can be dated to the turn of the 14th and 15th centuries, rather shortly before. Due to the lack of preserved connections and the state of preservation of the paintings, it is not possible to identify the motif of the image without doubt, but it is proba­bly the “Damascene Conversion of St. Paul the Apostle”.

The artistic significance of the church of St. Barbora in Zahrádky at Česká Lípa

Vít Honys

The artistic significance of the church of St. Barbora in Zahrádky at Česká Lípa in Monumentorum Custos 2022, pp. 21–34; Studies

A more detailed survey of the church helped shed more light on the development of the building, the oldest part of which, coming from the turn of the 16th–17th centuries, is the present day presbytery. In addition to the year 1587, the Renaissance tombstone in the interior of the church, the roof of the presbytery and the brickwork of the ground floor of the belfry correspond to this date. Other modifications, which also correspond to the data on the consecration of the small portable altars of the main and side altar in 1652, took place before 1660; At that period of time originated the architecture of the side altar of St. Anne, antependium with a depiction of St. Barbara covering the mensa of the main altar and perhaps even the pulpit and the altar grid. The current nave was built between 1689 and 1692, and the side chapels including the sacristy with the oratory in the early 18th century. From 1707, the cult of fourteen saints, the Holy Helpers, rose here. Thus, the Holy Helpers, whose statues were installed shortly after­wards on the altarpiece of the main altar from the 1890s, were overshadowing the feast of the titular saintess. The positive of the older organ 1765 was replaced by a single-manual rococo organ by J. Rusch, which has been preserved in a slightly modi-fied form until now. The development of the building was completed by the extension of the Kounic family tomb to the presbytery in 1803 and the modification of the roof in 1836.

The Church of St. Peter and St. Paul in Křemýž in the context of architectural creation of the Wallenstein‘s estate manor located in the areas of Duchcov and Litvínov

Tomáš Vorlíček

The Church of St. Peter and St. Paul in Křemýž in the context of architectural creation of the Wallenstein‘s estate manor located in the areas of Duchcov and Litvínov in Monumentorum Custos 2022, pp. 35–48; Studies

The village of Křemýž is located 4.5 km southeast of the North Bohemian spa town of Teplice. The architectural landmarks here are the castle building and the church of St. Peter and Paul. A remarkable set of buildings was created here at the turn of the 17th and 18th centuries at the initiative of Katherine Elizabeth Pachonhay. This noblewoman was the daughter of Habsburg cavalry colonel Martin de Pachonhay. In 1669, she purchased the Křemýž estate, which she gradually stabilized economically during her lifetime. The prosperity of the estate in the final stage of her life allowed her to implement expensive artistic orders in the form of the construction of a château and a new parish church, which was built in the years 1702–1707 and consecrated in 1713, i.e. after the death of its founder. In connection with the implementation of the plans of the late Prague archbishop John Frederik of Wallenstein († 1695), the construction of two important sacred buildings took place on the nearby trust estate of Duchcov – Litvínov, in the form of the Church of the Assumption of the Virgin Mary in Horní Jiřetín and the castle church of the Visitation of the Virgin Mary in the residential town of Duchcov. The first of the listed churches was designed by the “court architect” of John Frederik of Wallenstein, Jean Baptiste Mathey, and the castle church in Duchcov was designed by the “court architect” of Ferdinand Arnold of Wallenstein – Marc Antonio Canevalle.

Both important North Bohemian buildings of key repre­sentatives of Prague’s architectural creation of the late 17th and early 18th centuries found their echo even in the region of their origin. The Church of St. Peter and St. Paul in Křemýž was created under the direct influence of the two above-men­tioned buildings. Based on the structural analysis of all three buildings, it can be assumed that the relatively small church in Křemýž forms an integral part of the group with the two buildings on the Wallenstein´s estate located in the Duchcov and Litvínov area and can be relatively safely ascribed – even despite the absence of relevant written sources – to the archi­tect Marco Antonio Canevalle, whose list of works would thus be expanded by a new unique piece of work.

“For the beauty of our war monuments” or how to build monuments to the Great War based on the example of monuments to the fallen in the Ústí Region

Jiří Bureš – Marta Pavlíková

“For the beauty of our war monuments” or how to build monuments to the Great War based on the example of monuments to the fallen in the Ústí Region in Monumentorum Custos 2022, pp. 49–62; Studies

The period of the Great War inevitably brought the need to honor the victims and build war memorials. Already during the war, the professional public strove to cultivate monumen­tal architecture by organizing exhibitions, publishing sample publications or providing expert advice to builders. The Ger­man monument committee Denkmal-ausschuss für Deutsch­böhmen led by Karl Krattner was established in Prague in 1915, and later its Czech counterpart, The Czech Artistic Advi­sory Board for Monuments and Memorable Sights in Prague, chaired by Jan Kotěra. Both committees addressed the public and called for the construction of war memorials. Competi­tions for designs of model monuments were announced in 1915 by the Ministry of Culture and Education in Vienna and in 1916 in Prague by the German Monument Committee. The output of the competition of the Ministry of Education and National Enlightenment from 1920 was the publication of a model publication “Memorials to the victims of war and our liberation”.

Many of the published patterns were used in various par­tial modifications by local craftsmen in a number of places as type projects. Architectural competitions were held almost exclusively in urban areas, in which the original work of renowned architects or sculptors was used, and such compe­titions were held in Teplice, Most, Litoměřice Jirkov or Žatec.

War adventures of the art collection of August Švagrovský

Mirka Salavová

War adventures of the art collection of August Švagrovský in Monumentorum Custos 2022, pp. 63–68; Documents

In the first decade, the fellow countryman of Roudnice and art patron August Švagrovský donated over 200 paint­ings to the town of Roudnice nad Labem, thus laying the foundation for the current Gallery of Modern Art. However, the city did not have adequate space for this collection, so the works were first lying in the rectory for a few years and were not presented to the public until 1913. For the first time, the exhibition was installed in the hall of the city schools and later on the premises of the Roudnice Château. The collection was to be permanently displayed on the second floor of the Roudnice savings bank building in the central square of the town. However, the Second World War intervened in its fate, when the Prague Centre for Jewish Emigration decided that apartments for gendarmes would be built instead of the gal­lery space. The paintings were supposed to be moved to the former synagogue in Havlíčkova Street, but it was not suitable for these purposes, so they ended up lying in cabinets until the end of the war, lining the walls of the meeting room of the savings bank.

Boys from Zborov or the first among the fallen – legionary symbols, cult and fine art in the Ústí Region interwar monument architecture

Jiří Bureš – Marta Pavlíková

Boys from Zborov or the first among the fallen – legionary symbols, cult and fine art in the Ústí Region interwar monument architecture in Monumentorum Custos 2022, pp. 69–82; Documents

The extraordinary importance of the legionnaires in interwar Czechoslovakia was substantially reflected in the war monument architecture. The motif of the legionnaire as the first fighter of the republic was used on a number of monuments at the level of the symbol, i. e. even without a direct link to legionary organizations, the most frequently depicted being the French legionnaire. As early as the time of war, a stream of not easily definable fine legionary art was gradually created. This circle of artist associated numerous legionnaire artists (e. g. Jaroslav Rössler, Rudolf Březa, Karel Babka, Stanislav Birma), many of whom were later agile in the construction activities of the Liberation Memorial.

Legionary organizations with the dominant Czechoslovak legionary community were responsible as builders for the creation of a large group of legionary monuments. The circle of legionary monuments also includes the regimental monuments in Most and in the Litoměřice barracks. Unfortunately, the grand plans the beginning of the 1920s, i. e to build a memorial to the legions on Mountain Říp, have been preserved as paper designs. The identification of the phenomenon of legionnaires with the era of interwar Czechoslovakia foreshadowed the process of their demise in the Protectorate and the Imperial County of Sudetenland. It can therefore be stated that only a limited part of the original scope has been preserved to this day.

Preliminary report on rescue archaeological research on Lhota hill, in the Municipality of Kocourov near Medvědice in the Bohemian Massif

Martin Trefný

Preliminary report on rescue archaeological research on Lhota hill, in the Municipality of Kocourov near Medvědice in the Bohemian Massif in Monumentorum Custos 2022, pp. 83–96; Documents

In the fall of 2018, Mr. Vágner reported repeated violations of the Lhota high-altitude site (571 m) in the cadastre of the village of Kocourov, the Litoměřice District. After presenting the problem to the Commission of North Bohemian Archae­ology in Most, an inspection of the site and documentation of the current situation was arranged. The inspection was car­ried out on January 31, 2019, by archaeologists O. Kotyza and M. Trefný.

Jakub Pátek et al. Konojedská preludia

Jiří Bureš

Jakub Pátek et al. Konojedská preludia in Monumentorum Custos 2022, pp. 97–98; Seminars, Conferences, Events

For several years now, the richness of the cultural heritage of the Bohemian Central Highlands has been revealed by research carried out by the Faculty of Arts of UJEP in Ústí nad Labem as part of the Hortus Montium Mediorum project - Documentation, research and presentation of the cultural heritage of selected localities in the eastern Bohemian Central Highlands. One of the outputs of the research was the exhibition Konojedská preludia in 2021, mapping the development of the Konojedy cultural landscape and its heritage fund. It is complemented by a critical catalogue of the same name in the form of a collective monograph edited by Jakub Pátek, published in Ústí nad Labem in 2021. On 336 pages of coated paper, the book contains sixteen chapters written by twelve authors, mainly professionals from the Department of History at the Faculty of Arts of UJEP, the National Heritage Institute in Ústí nad Labem, the State Regional Archive in Litoměřice and the Bishopric of Litoměřice.

Jiří Hofman, Vlasti k obraně, matce ke cti. Stavba pevnosti Terezín 1780–1790

Antonín Kadlec

Jiří Hofman, Vlasti k obraně, matce ke cti. Stavba pevnosti Terezín 1780–1790 in Monumentorum Custos 2022, pp. 99–100; Seminars, Conferences, Events

In the autumn of 2022, the publishing house Veduta published a monograph entitled: "Vlasti k obraně, matce ke cti: Stavba pevnosti Terezín 1780-1790" by Jiří Hofman. The 352-page book takes the reader right into the middle of the great construction site that was Terezín in the 1780s. The Czech text is accompanied by French, English, German and Ukrainian summaries. In addition to the scholarly yet readable text, the book includes 89 mostly full-page but also double-page illustrations and a number of smaller or more extensive overview tables. Illustrations were done by Lukáš Hudák. In this context, it is also necessary to appreciate the high quality graphic design of the publication by Tereza Melenová. The A5 format book fits into any bookshelf, the cover is a drawing of the fortress set in the dramatic landscape of the Lower Harz Tableland rising to the peaks of the Bohemian Central Highlands.