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.
The authors treat a manuscript missal unknown to this day by experts, which is housed at the Scientific Library in Olomouc (M III 106). After having analysed the manuscript in the line of codicology (Š. Kohout), history of arts (J. Hrbačova), and musicology (S. Červenka), they conclude that this codex was intended for the needs of the Benedictine Convent in Opatovice nad Labem. It was created shortly after the year 1354, its illuminations are the work of a Prague workshop associated with the court of King Charles IV, which participated in the production of a series of exclusive manuscripts, e. g. Liber viaticus of the Bishop Johannes Noviforensis. The Viaticus and the missal of Opatovice are on the same line in terms of decoration. The missal was probably ordered by the then Benedictine Abbot Neplach who maintained frequent official contacts with the Bishop occupying the office of chancellor to Charles IV.
The authors treat a manuscript missal unknown to this day by experts, which is housed at the Scientific Library in Olomouc (M III 106). After having analysed the manuscript in the line of codicology (Š. Kohout), history of arts (J. Hrbačova), and musicology (S. Červenka), they conclude that this codex was intended for the needs of the Benedictine Convent in Opatovice nad Labem. It was created shortly after the year 1354, its illuminations are the work of a Prague workshop associated with the court of King Charles IV, which participated in the production of a series of exclusive manuscripts, e. g. Liber viaticus of the Bishop Johannes Noviforensis. The Viaticus and the missal of Opatovice are on the same line in terms of decoration. The missal was probably ordered by the then Benedictine Abbot Neplach who maintained frequent official contacts with the Bishop occupying the office of chancellor to Charles IV.
The subject of this paper is a typological classification of the acanthus ornamentation of the Czech manuscripts from the 14th – 15th centuries. The definition of the four types of Czech acanthus ornaments is studied in relation to their genesis and their sources in the illumination in Bohemia, Italy and Western Europe. The ornamentation of the manuscripts of the followed period is confronted with its resources and parallels in the contemporary sculpture and applied arts. The modifications of the types of acanthus is followed in the context of the relations of the Prague workshops with the regional production in the Czech Lands and also from the standpoint of their possible influence on the evolvement of acanthus ornament in the illumination of the Western and Central Europe of the 15 and early 16th centuries. The paper deals also with the possibilities of the content interpretation of the ornament decoration of the Medieval manuscripts and offers other questions and problems to be solved in the further study of this theme.
The subject of this paper is a typological classification of the acanthus ornamentation of the Czech manuscripts from the 14th – 15th centuries. The definition of the four types of Czech acanthus ornaments is studied in relation to their genesis and their sources in the illumination in Bohemia, Italy and Western Europe. The ornamentation of the manuscripts of the followed period is confronted with its resources and parallels in the contemporary sculpture and applied arts. The modifications of the types of acanthus is followed in the context of the relations of the Prague workshops with the regional production in the Czech Lands and also from the standpoint of their possible influence on the evolvement of acanthus ornament in the illumination of the Western and Central Europe of the 15 and early 16th centuries. The paper deals also with the possibilities of the content interpretation of the ornament decoration of the Medieval manuscripts and offers other questions and problems to be solved in the further study of this theme.
By a detailed analysis of decoration and collation of this manuscript it was found out that three principal masters participated in its decoration. The top quality of the decoration can be found in the work of the first master continuing the Byzantine, Venetian, and Saxon-Thuringian creation. The second master uses the first master´s work. The work of the third master is quite different as it is connected with original Bohemian production – with the Mater verborum manuscript. This different quality of illuminations allows to suppose that the codex originated in a scriptorium acting somewhere in Bohemia and employing a number of artists and their helpmates.