Dosavadní rozšíření výrazného typu bronzové spony středolaténské konstrukce se zdobeným štítkovým lučíkem se omezuje pouze na středoevropský prostor s jednoznačným těžištěm výskytu v Čechách a na Moravě. Tato skutečnost opravňuje jejich J. Wernerem navržené označení jako „bójské“ spony. Spony získané z oppidálního prostředí ukazují na jejich rámcové datování do rozmezí stupňů LT C2-D1. and The existing distribution of a distinct type of bronze fibula of the Middle La Tène construction with a decorated plate bow is restricted to Central Europe, with a pronounced concentration of finds in Bohemia and Moravia. This fact justifies their designation as “Boiian” fibulae, as proposed by J. Werner. The fibulae acquired from oppida indicate a general dating in the phases LT C2-D1.
The large compendium titled Die österreichisch-ungarische Monarchie in Wort und Bild contains two volumes devoted to Bohemia (1894 and 1896) and one volume devoted to Moravia and Silesia (1897). Chapters on folk culture are accompanied by a plethora of pictures, a significant number of which depict rural residents wearing traditional dress. However, the informative value of illustrations depicting folk costumes from Bohemia, Moravia and Silesia as a source for ethnological research is limited. The unbalanced selection of examples from individual regions is problematic. Understandably, a great emphasis was placed on the German ethnic group, but even ethnographic regions inhabited by Czech population are not represented proportionally to the preservation of traditional culture, so the resulting visual perception does not even correspond to the reality in the late nineteenth century. Czech painters were addressed to illustrate two volumes about Bohemia, but the Moravia and Silesia volume was illustrated almost exclusively by artists with ties to the Vienna Academy of Fine Arts, where they studied or taught, and to the imperial court. However, not only Viennese, but even all Czech painters had no direct experience with the folk culture in Bohemia, Moravia and Silesia. They worked according to supplied photographs, the availability of which eventually influenced the choice of illustrations. The successful level of both the drawing and painting templates and their xylographic treatments posed a positive aspect. And what is essential - the comparison with the traced model photographs confirms their basically faithful interpretation. Even so, the ethnologist cannot underestimate the critical insight into the documentary value of the illustrations accompanying the admirably monumental work Die österreichisch-ungarische Monarchie in Wort und Bild, named Kronprinzenwerk after its initiator and partly co-author, Crown Prince Rudolf.
The topic of this article is the engagement of Lipolt Krajíř of Kraig († 1433) in the Hussite wars. Krajíř was among the innumerable members of Sigismund of Luxembourg’s retinue who actively fought the Hussites in three central European lands. Lipolt’s importance within the Catholic party is especially proven by the fact that he was transferred—by Sigismund of Luxembourg and then by the Austrian Duke and Moravian Margrave Albert II of Habsburg—to places which were long threatened by the Hussites (České Budějovice) or actually under attack by them (Moravia, Austria).