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The building history of the Saint Giles´ church in Milevsko
POUZAROVÁ, Johana
Church of St. Giles in Milevsko - building history and art-historical context This bachelor thesis will deal with history of the church of St. Giles, which is located in the area of the former Premonstratensian monastery in Milevsko. Firstly, the author will focus on the history of the oldest building of the church, as evidenced by the massive western tower and part of the northern masonry. The history of the church dates back to the 12th century when a major reconstruction took place in Gothic style. Furthermore, the work will include the history of construction, the urban side of the building and the context of the time of construction. Important aspect of the text will be the preserved presbytery of the church with a developmentally important vault, which in Czech history of art gave its name to one of the vault patterns (the so-called Milev type). The author will conduct the analysis of this vaulting pattern and with the help of newer Czech and foreign literature she will try to place the vault in the context of Prague's Parler and South Bohemian poplar architecture. Furthermore, the work will also contain comparison of formal connections with other sacral buildings, which bear similar if not the same arches as the church of St. Giles.
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The animals in the cathedral. Architectonical sculpture of animals and fantastical creatures by parlerian lodge in the St. Vitus Cathedral, their symbols and iconography.
Urbanová, Karolína ; Royt, Jan (advisor) ; Sojka, Jaroslav (referee)
This Master Thesis "The animals in the cathedral. Architectural sculpture of animals and fantastical creatures by parlerian lodge in the St. Vitus Cathedral, their symbols and iconography" looks into the architectural sculpture of animal's motifs and motifs of fantastical Creatures. The goal of this work is to summarize recent aspects of research about this theme, explain in more detail individually motifs of animal's and their Iconography and their meaning for Cathedral of St. Vitus. Also this thesis want to explain how could this special animal's motifs fit into the places, where are they have been situated. Their Iconography is taken with larger perspective, by literature's reception from antique over czech medieval age. Concerning animals and fantastic Creatures in the southern vestibule - pelican and phoenix; an owl in the Crown Chamber; gryphon and fight between cat and dog in the inner triforium; an eagle, an unicorn, a horse with bird's legs, a phoenix, a pelican, a stag, a lion, a gryphon, a lioness, a bear, a "cat" and three chimera in the outer triforium; a lion, a dog, a dragon and an eagle in buttresses and at least a dragon and a goat on the Big Tower. Keywords Cathedral st. Vitus, animal's motifs, symbols, iconography, architektonical sculpture, sculptures, console, relief, gothic...
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Exacting stone components made by Parler's workshop in European context
Pavlíčková, Anna ; Macek, Petr (advisor) ; Chotěbor, Petr (referee)
The present work relates to the transfer of the inspirational elements used in St. Vitus Cathedral in Prague focusing on the hanging bolts in the sacristy of the cathedral. Two architects, Matthias of Arras and Peter Parler, participated in the construction of St. Vitus Cathedral in the 14th. Century Both of these builders were inspired by the most important buildings of contemporary Europe and the experience they gained was incorporated in the Prague cathedral. Through thorough research of the life of Matthias of Arras I am able to describe this builder as a unique personality who used a bold modern style for the construction of Prague cathedral and laid the foundation for cathedral architecture in Bohemia. Subsequent analysis of selected buildings constructed in the south of France during the 13th. and the first half of the 14th. centuries reveals many features which exhibit common characteristics with elements used on St. Vitus Cathedral, thus indicating the sources of inspiration for Prague cathedral. Both builders work meets in a space called "Old Sacristy" decorated with two unique pendant bosses. Thanks to exhaustive investigation it has been clarified that these bosses originated from southern France and Alsace. It has also been possible to chart their transmission throughout Europe and to...
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The animals in the cathedral. Architectonical sculpture of animals and fantastical creatures by parlerian lodge in the St. Vitus Cathedral, their symbols and iconography.
Urbanová, Karolína ; Royt, Jan (advisor) ; Sojka, Jaroslav (referee)
This Master Thesis "The animals in the cathedral. Architectural sculpture of animals and fantastical creatures by parlerian lodge in the St. Vitus Cathedral, their symbols and iconography" looks into the architectural sculpture of animal's motifs and motifs of fantastical Creatures. The goal of this work is to summarize recent aspects of research about this theme, explain in more detail individually motifs of animal's and their Iconography and their meaning for Cathedral of St. Vitus. Also this thesis want to explain how could this special animal's motifs fit into the places, where are they have been situated. Their Iconography is taken with larger perspective, by literature's reception from antique over czech medieval age. Concerning animals and fantastic Creatures in the southern vestibule - pelican and phoenix; an owl in the Crown Chamber; gryphon and fight between cat and dog in the inner triforium; an eagle, an unicorn, a horse with bird's legs, a phoenix, a pelican, a stag, a lion, a gryphon, a lioness, a bear, a "cat" and three chimera in the outer triforium; a lion, a dog, a dragon and an eagle in buttresses and at least a dragon and a goat on the Big Tower. Keywords Cathedral st. Vitus, animal's motifs, symbols, iconography, architektonical sculpture, sculptures, console, relief, gothic...
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Self-portait in sculpture in Bohemia
Havelková, Tereza ; Konečný, Lubomír (advisor) ; Prahl, Roman (referee)
There is only limited amount of sculptural self-portraits. Only few sculptors captured their own appearence and they did it only exceptionally twice in their lives. The first known self-portrait is Petr Parléř's bust in St. Vitus Cathedral's triforium. It is a historically unique example and it remained isolated in the Czech area for a long time. During the Baroque, there began a long line of self-portrait effigies within larger iconographic units, so called cryptoportraits. Three- dimensional effigies, as reliefs, occur with the same frequency.The major turning point for the creation of scuptural self-portraits was made by J. V. Myslbek with his effigy from 1902. He prescribed in its entirety the type of respectable person, the type of representative bust. Since then, there can be found the increasing use of sculptural self-portraits appear, the continuous chronological sequence and its development can be traced in the work of his pupils. The sculptors usually portrait themselves as serious persons; they try to capture all their current experience with representative effigies. Even the expressional part of these effigies represent faithful reflection of reality with accurate depiction of human physiognomy and character. Their work with space is consistent but only minimal with extra-portrait...
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