The illuminated manuscripts in Zittau are only known to some extent. The two-volume Vesperale and Matutinale (A I, A VI) from the second decade of the fifteenth century was created for the Karlov Augustinian Monastery in Prague. The painted decoration is the work of the Master of the Hasenburg Missal, who represents the highest stage of fine style. The Missal of the Prague Diocese (A VII) is from the early fifteenth century. The decoration is the work of two illuminators, led by the Master of the Roudnice Psalter, although the share of the second illuminator - the Master of Paul's Gospel – is more extensive. Hitherto unknown is the Antiphonary (A IV) from the second decade of the fifteenth century. The small share of the primary illuminator is based on the Master of the Antwerp Bible. The Zittau Gradual (A III) is dated 1512; its primary illuminator was Janíček Zmilelý of Písek. The Gradual (A V) was created in 1435 for the parish church in Zittau by commander of the Commenda of Johannites Johann Gottfried von Goldbergu. The decoration was evidently created in Vratislav by the Master of the Bible of Banken. The Vesperal and Matutinal (A II) from the end of the fifteenth century was perhaps designated for the Commenda of Johannites in Zittau. The decoration is Saxon work.
The Municipal Library in Bautzen houses a lot of Czech manuscripts which are dealt with by special literature, but the illuminations of which are known very scarcely. The decoration of the collection of work by Jan Hus (Ms. fol. 51) can be narrowed to the middle of the 15th century; the present date of 1412 is based on an entry in fol. 137v and is untenable because it is the text, not the decoration which came into existence in this year. The depictions – the figural and the heraldic ones – were added to the manuscripts supplementally; it is probably a picture of Jan Hus mounting the pulpit and a coat of arms of a member of the Hroznata family, maybe of the Kladruby abbot Bušek of Vrtba or of the front warrior of the Catholic Side, Burian of Gutštejn. The collection of theological-juridical texts (Ms. fol. 56) contains moreover yearly records; only one text item (Řeči besední) can be attributed to Tomáš Štítný of Štítné. The decoration of the codex is limited only to one fi gural illumination and one ornamental initial. Its style is quite advanced; it can most likely be dated to the 1470s.
The Municipal Library in Bautzen houses a lot of Czech manuscripts which are dealt with by special literature, but the illuminations of which are known very scarcely. The decoration of the collection of work by Jan Hus (Ms. fol. 51) can be narrowed to the middle of the 15th century; the present date of 1412 is based on an entry in fol. 137v and is untenable because it is the text, not the decoration which came into existence in this year. The depictions – the figural and the heraldic ones – were added to the manuscripts supplementally; it is probably a picture of Jan Hus mounting the pulpit and a coat of arms of a member of the Hroznata family, maybe of the Kladruby abbot Bušek of Vrtba or of the front warrior of the Catholic Side, Burian of Gutštejn. The collection of theological-juridical texts (Ms. fol. 56) contains moreover yearly records; only one text item (Řeči besední) can be attributed to Tomáš Štítný of Štítné. The decoration of the codex is limited only to one fi gural illumination and one ornamental initial. Its style is quite advanced; it can most likely be dated to the 1470s.
In the culminating and late middle ages funny scenes, the so called drôleries, appear in the borders of illuminated manuscripts. Th eir problems are not explained completely; they seem to contain hidden spiritual meanings. Besides singing birds, which are symbols of the unearthly sphere, fi gures appear most oft en who were taken as negative in middle-ages – owls, apes, beasts of prey, dragons, and clowns. Th e fi gures of antique mythology were perceived as negative too; the cults connected with them were perceived as demoniacism by the Christian society. Drôleries are usually placed in borders which are decorated with an acanth. Th e acanth in time became a symbol of victory over death. It can be also interpreted as Christ´s crown of thorns. In this way the spirit of medieval symbolism indicated that negative forces are driven to the margin and defeated by Christ´s victim.
In the culminating and late middle ages funny scenes, the so called drôleries, appear in the borders of illuminated manuscripts. Th eir problems are not explained completely; they seem to contain hidden spiritual meanings. Besides singing birds, which are symbols of the unearthly sphere, fi gures appear most oft en who were taken as negative in middle-ages – owls, apes, beasts of prey, dragons, and clowns. Th e fi gures of antique mythology were perceived as negative too; the cults connected with them were perceived as demoniacism by the Christian society. Drôleries are usually placed in borders which are decorated with an acanth. Th e acanth in time became a symbol of victory over death. It can be also interpreted as Christ´s crown of thorns. In this way the spirit of medieval symbolism indicated that negative forces are driven to the margin and defeated by Christ´s victim.