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Epigraphica & Sepulcralia 11. Forum of epigraphical and sepulchral studies. The Proceedings of the 18th and 19th International Sessions on the Issue of Sepulchral monuments, Prague on 6-7 November 2019 and remotedly on 12-13 November 2020
Roháček, Jiří
The proceedings of the 18th and 19th international sessions on the issue of sepulchral monuments, which took place in Prague on 6 – 7 November 2019 and online on Zoom (due to the coronavirus epidemic) 12 – 13 November 2020. These regular conferences, organized since 2000 by the Institute of Art History, Czech Academy of Sciences, are focused on sepulchral monuments as material artefacts of sepulchral culture and as works of art in the traditional sense of the word, with a factual or methodological relation to the Central European issues. However, they do not avoid themes, that more widely explain the context, in which these monuments were created and were functionally applied. The emphasis is placed on the nature of interdisciplinary expert meetings. Since the 15th session in 2016, however, it has also started to take note of Jewish sepulchral monuments and, given the topicality of the topic, also Muslim ones, but still with a close connection to Central European issues. Through their focus and periodicity, they are unique in a pan-European context. The series Epigraphica & Sepulcralia has been the publication forum of these sessions since 2005. The conference proceedings bring a total of twenty contributions divided into unequal parts, one of which is devoted to Christian sepulchral monuments and the other to Jewish sepulchral monuments. In addition to Czech and Moravian themes, Slovak, Polish and Hungarian themes traditionally have a significant share.
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The Earliest Graves in Saint Vitus Cathedral and Their Dating Issue
Vrána, David
During the years 1995–2018, inspection research was carried out for graves K1 and K2 discovered under the Saint Wenceslas Chapel floor in Saint Vitus Cathedral, on the site of the former rotunda with the same consecration. The results of radiocarbon dating of the human remains and the wooden structure, as well as other findings, indicate an origin in the 9th century, however, putative stratigraphic problems obstruct the acceptation of these results. A belief prevails that the graves were dug only after the rotunda’s erection, or rather after the building of the alleged later annex for the south apse that contains the grave of Saint Wenceslas. This opinion is based on the finding of masonry inside the apse that was detected under the later Gothic altar and that was interpreted as the remains of the demolished foundation of the rotunda nave. Based on the latest evaluation, it seems more likely that the relics under the Gothic altar are connected with the earliest stage of the altar and the foundation altar step (gradus altaris). Covering the dead in grave K1 with lime or mortar was also identified as a stratigraphic issue, nevertheless, it must have been done after the deceased was placed in the grave. Similarly, the findings of marlstone and mortar fragments in the corner of grave K1 during the archaeological inspection in 1995 provide no evidence that the grave was dug only after the erection of the rotunda because it is most likely only secondary contamination. The identification of the deceased persons remains uncertain, but morphology features and the blood group of the man in grave K1 suggest his affiliation with the House of Přemyslid. Based on current findings, the hypothesis of E. Vlček about the identification of the dead from grave K1 with Prince Bořivoj I (†890) cannot be ruled out, yet the buried woman in the neighbouring grave K2 indicates the need to search for another explication that only a new successfully conducted DNA analysis would confirm.
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Infastructures of (the History of) Art
Buddeus, Hana ; Lomová, J.
The introductory chapter of the proceedings of the VIIth Congress of Art Historians, held in September 2021 in Ústí nad Labem, presents the topic of infrastructures as one of the central themes of contemporary art and asks what place they have in the discipline of art history. The focus is on the temporally and locally conditioned context, everything that surrounds the work, what materially constitutes it and what enables or directly conditions its existence, what preserves it in time and what brings attention to it.
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Ceiling Paintings and their Interpretation between Image and Material Structure
Mádl, Martin
The study is devoted to the problem of material in the structure of a work of art and its importance in art historical interpretation. Using the example of wall paintings, we consider the problem of grasping the role of material in art historical interpretation of a painting and the difficulties of professional dialogue between art historians on the one hand and restorers and technologists on the other.
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Infastructures of (the history of) art
Bartlová, A. ; Buddeus, Hana
Infrastructures are one of the central themes of contemporary art, what place do they have in the discipline of art history? Proceedings of the VIIth Congress of Art Historians, held in September 2021 in Ústí nad Labem, discusses the topic in five chapters, revealing the mechanisms of collecting, exhibiting and reproducing art, art education, and the conservation of art monuments. The focus is on the temporally and locally conditioned context, everything that surrounds the work, what materially constitutes it and what enables or directly conditions its existence, what preserves it in time and what brings attention to it.
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The Lost Epitaph and Tombstone of Václav Hájek of Libočany
Mezihoráková, Klára
Beginning in the 17th century, the numerous authors of documents about Prague referred to the grave of Václav Hájek of Libočany (the Catholic priest and author of the famous Czech Chronicle, † 1553) with a tombstone and epitaph being located in the Church of Saint Anne at the Convent of Dominican Nuns in the Old Town in Prague. Despite this fact, both monuments disappeared without a trace during the 19th century. While the only information about the tombstone is that it was made of ‘yellow marble’ the descriptions of the epitaph have survived as well as two depictions from the later editions of the Czech Chronicle from 1718 and 1761. In spite of the incomplete documentation, the epitaph presents the best-identified part of the furnishings of the Convent of Saint Anne in Prague. This article points to the surprising fact, that these monuments were not lost in auctions after the cancellation of the monastery in 1782, as one would have expected, but probably nearly a hundred years later.
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Stone Statue of the Madonna with an Inscription – A Challenge Not Only for Epigraphers
Benešovská, Klára
Stone Statue of the Madonna with an Inscription – A Challenge Not Only for Epigraphers. The fragment of the stone Madonna with the Czech inscription „omylostywa” (Oh, Graceful), discovered in the town of Sázava and deposited in the local castle collections (originally a Benedictine monastery), was originally an enthroned Madonna connected to architecture. The drapery composition of the torzo and the inscription letter types enable one to date the statue from about 1400. The question arises of its placement: either in the accessible areas of the monastery or on a house or in a niche (chapel) located along the path leading to the monastery where it was always visible to the faithful who could pray there and venerate it. Furthermore, the hypothesis that indulgences would relate to the Madonna statue cannot be excluded.
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