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Emperor Rudolf II's Patronage of Alchemy. Michael Maier (1569 - 1622) and Anselmus Boëthius de Boodt (1550 - 1622)
Purš, Ivo ; Konečný, Lubomír (advisor) ; Mádl, Martin (referee) ; Karpenko, Vladimír (referee)
Emperor Rudolf II's Patronage of Alchemy. Michael Maier (1569-1622) and Anselmus Boëthius de Boodt (1550-1632) The work is focused on the emperor Rudolf II's (1552-1612) patronage of alchemy and two distinguished physicians interested in alchemy that lived for some time at the emperor's court. The text reflects these topics in its structure; therefore, it is divided into three parts. The first part deals with the emperor himself and his support of alchemy at the court. Furthermore, the reasons of the emperor's interest in this field of research are analyzed, as well as historical and philosophical context of the research. Examined were also collaborators and closest courtiers to the emperor that took and interest in alchemy and the possibilities of practical realization of laboratory works at Prague castle, the question of their nature and expected results. Last but not least is discussed, to what extent was the emperor personally involved in the experiments. The second chapter is about Michael Maier (1569-1622), a physician and alchemist, who came to Prague in the middle of 1608 with an intention to ask the emperor to support his research. Maier gained a doctorate in medicine in Basel and his interest in alchemy was purely medical. He wanted to offer the emperor a 'universal medicament' he had...
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Laberinto
Skopalová, Eva ; Konečný, Lubomír (advisor) ; Purš, Ivo (referee)
Laberinto is a type of book-form game, invented by Andrea Ghisi, and first printed in 1607. A second version was printed in 1616 and includes all the characters of the so-called tarocchi of Mantegna, with the addition of a new series of ten cards (following the logic of composition of the tarocchi). Another two versions of Laberinto (printed in 1607 and 1610) contain none of the Mantegna tarocchi characters. The rules of the game are based on the art of mathematical combinations. The aim of the game is to move through a visual labyrinth and discover which figure the opponent has in mind. The focus of this work will be on the 1616 version; my intention is to describe the problematic of the repetition of the original game concept a century and a half later, examining the conditions under which players used the allegorical field of the so-called Mantegna Tarocchi, and under which the cosmological meaning was secularized and the new series of ten cards added.
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Iconography of tarot cards, named Tarot of Mantegna
Skopalová, Eva ; Konečný, Lubomír (advisor) ; Purš, Ivo (referee)
The Iconography of Tarot Cards Known as the Mantegna Tarot Eva Skopalová Abstract: The text deals with a general idea of The So-Called Tarocchi of Mantegna. Individual sheets of the whole game are grouped by decades with letters E, D, C, B, A, and the total number of sheets is fifty. Each level of the system corresponds to a level of the universe in a way it was comprehended by a Renaissance man in the late 15th century in Northern Italy. The text brings out the idea of each level and the general idea of the whole system as well. I am connecting the system with thoughts of Raymond Lulle, which was an important element in thoughts of Nicolas of Cusa, who is considered to be a major creator of the idea of the ensemble. Subsequently, the reference of cards is dealt as the second life of the ensemble, firstly in the context of thoughts of Marsilio Ficino, but also as an idea of educative games of the 18th and 19th centuries.
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Emperor Rudolf II's Patronage of Alchemy. Michael Maier (1569 - 1622) and Anselmus Boëthius de Boodt (1550 - 1622)
Purš, Ivo ; Konečný, Lubomír (advisor) ; Mádl, Martin (referee) ; Karpenko, Vladimír (referee)
Emperor Rudolf II's Patronage of Alchemy. Michael Maier (1569-1622) and Anselmus Boëthius de Boodt (1550-1632) The work is focused on the emperor Rudolf II's (1552-1612) patronage of alchemy and two distinguished physicians interested in alchemy that lived for some time at the emperor's court. The text reflects these topics in its structure; therefore, it is divided into three parts. The first part deals with the emperor himself and his support of alchemy at the court. Furthermore, the reasons of the emperor's interest in this field of research are analyzed, as well as historical and philosophical context of the research. Examined were also collaborators and closest courtiers to the emperor that took and interest in alchemy and the possibilities of practical realization of laboratory works at Prague castle, the question of their nature and expected results. Last but not least is discussed, to what extent was the emperor personally involved in the experiments. The second chapter is about Michael Maier (1569-1622), a physician and alchemist, who came to Prague in the middle of 1608 with an intention to ask the emperor to support his research. Maier gained a doctorate in medicine in Basel and his interest in alchemy was purely medical. He wanted to offer the emperor a 'universal medicament' he had...
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