Balthasar Hacquet de la Motte was a French natural scientist and physician who spent many years of his life in Slovenia, then in Lvov, Krakow, and Vienna. From his original interests relating to natural science, he moved his attention to specific features of folk culture in the countries of Central, Southern and South-Eastern Europe, and especially to folk dress. He probably painted some illustrations in his publications by himself and these served as a model for other authors (Andreas Johann Herrlein), at some other time he used the service of a professional painter (Georg Vogel). As resulting from the comparison of his topographic works, he also made depictions from his older works available (Jacob Adam, Franz Seraph Christoph Reider), namely as a sketch for new aquarelles (Christian Gottfried Heinrich Geißler) that could later serve as a model for other authors (Vincenz Georg Kininger, Jean-Pierre Norblin). This is demonstrated by noticeable identical details on dress and its accessories. The sketched connections confirm the well-established way of taking-over and exploring older works as models, which survived as late as until the 19th century.
This article focuses on military handbooks from the first half of the 17th century placed in the collections of the Military History Institute Prague. In the introduction, it summarises the history and structure of the collection of early printed books in the library under study. After that, it characterises the set of the handbooks i.a. in terms of their topic, the language and the publisher’s provenance, as well as format. Its main aim is to analyse the frontispieces and engraved title pages of these publications with regard to the iconographic motifs that are usually depicted on them. The final part of the work outlines the possibilities of using the frontispieces and engraved title pages of the studied publications as iconographic sources in historiography and it places the title illustrations of the military handbooks in a wider context., Klára Andresová., Obsahuje anglický abstrakt a shrnutí., and Obsahuje bibliografii
This article focuses on military handbooks from the first half of the 17th century placed in the collections of the Military History Institute Prague. In the introduction, it summarises the history and structure of the collection of early printed books in the library under study. After that, it characterises the set of the handbooks i.a. in terms of their topic, the language and the publisher’s provenance, as well as format. Its main aim is to analyse the frontispieces and engraved title pages of these publications with regard to the iconographic motifs that are usually depicted on them. The final part of the work outlines the possibilities of using the frontispieces and engraved title pages of the studied publications as iconographic sources in historiography and it places the title illustrations of the military handbooks in a wider context.
The 1150th anniversary of arrival of Constantine and Methodius, brothers of Thessaloniki, to Great Moravia (in 863) was an opportunity to reassess the historic role of their mission both from the religious and ecclesiastical and from the political, cultural and historic points of view. The cult of Constantine and Methodius was
obviously reflected not only in the high art but also in folk culture. Velehrad, which has become one of the leading Moravian sites of pilgrimage, was connected with production of objects of devotion, which the pilgrims brought back to their homes to use in their prayers or as souvenirs of the place. The earliest group of these objects of devotion is represented by documents of folk art and works with features of folk art but the most popular objects include pieces of devotional graphic art, “holy” pictures commercially produced and sold at pilgrimage destinations since the latter half
of the the 19th century. For the purpose of the contribution a
couple of interesting artefacts (prints) of 19th century related to the Constantine and Methodius tradition were acquired. The different approaches to the composition of the scenes from the life of the two saints and different attributes of their appearance shown in the pictures demonstrate transformations of their cult, which was mainly developed in the Moravian environment, but also as regional patron saints in the Czech lands and as Slavonic faith promoters in other European nations.