The Danish writer Johannes V. Jensen (1873–1950) wanted to create a piece of literature which was supposed to replace the Bible and tell the story of the origin of humans according to the scientific theory of evolution. The book was entitled
The Prague Castle collections hold a precious series of fabrics from the tomb of St. Wenceslas († 935). The remains of the prince were transferred to Prague Castle from Stará Boleslav several years after his death, and were interred in the south apse of St. Vitus Rotunda. For centuries, the grave remained in the same place. In the Middle Ages an above-ground tomb and altar were constructed, later modified several times. The remains and the grave goods, mostly fabrics, were removed from the altar and the lead tomb situated underneath the floor in 1911. In total, 18 fabrics were restored in 2002-2003, textile and technological analyses were conducted, and in 2018 and 2019 the items were newly assessed. The fabrics come from a broad period spanning the 11th/12th century and the 15th century. Most fabrics date from the 13th-14th century. The regions in which the fabrics were produced are located in all major silk-making centres of the time: north China, central Asia, the Near East, Egypt, Spain and Italy. The oldest fabric was woven with the samitum technique, the others are lampas fabrics. The fabrics without patterns are in plain or twill weave. The fabrics from the tomb of St. Wenceslas are secondary relics, i.e. objects which were in contact with the saint's remains.
The article summarises information on a large assemblage of medieval wool and silk textiles found during an archaeological excavation of waste layers from the fourteenth and fifteenth centuries in the centre of Prague. The work primarily presents wool cloths (fulled fabrics) and fabrics (without fulling) in plain and twill weave, which make up the vast majority of the more than 1,500 fragments. The silk textiles presented are interesting evidence of the presence of expensive imported goods in the Bohemian environment. The results, based mainly on textile technology studies of the fabrics, are also supplemented with information acquired during analyses of their current and original colour, including an identification of dyeing sources.
In our contribution, we explore the Czech-speaking discourse related to Georg Brandes in the Bohemian Lands in the late nineteenth and the early twentieth century, which means before and shortly after Czechs gained their independence from Austria-Hungary in 1918. Our research of archival sources, especially periodicals and private letters, enables us to confidently claim that the impact of Brandes’s criticism on the Czech arts was rather insignificant. At the same time, the sources give a clear picture that the Czech-speaking intelligentsia were interested in using Brandes’s symbolic capital to promote their struggle for Czech cultural autonomy. Thus, it was not Brandes’s works that can be considered influential in the Czech context but his persona. This strategy of using Brandes’s symbolic capital mirrors his own efforts to be viewed as an international intermediary. Finally, we explore the East-West dynamics in Brandes’s relationship with Czechs and vice versa, and here, we identify a considerable asymmetry
Abstrakt: Pohřební oděv českého krále Rudolfa I. (IV.) Habsburského ( † 1307) byl vyjmut z tumby v královské kryptě v katedrále sv. Víta na Pražském hradě v roce 1991. Poté byl restaurován v Abegg-Stiftung v Riggisbergu. Roucho bylo ušito ze dvou podobných lampasů středoasijské provenience z přelomu 13. a 14. století, vzor byl vytkán útky z proužků živočišného podkladu (kůže) z vnější strany pozlacených a z vnitřní postříbřených. První látka je vzorována motivem ptáků držících v zobáku větévku nebo rybu, druhá pak čínskými draky a obláčky. Z těchto látek bylo v roce 1995 rekonstruováno kompletní mužské odění -plášť s vlečkou, surcot bez rukávů a krátký vypasovaný kabátec. Surcot a kabátec měly podšívky. Problémem je, že tato rekonstrukce neodpovídá módě, která se na začátku 14. století v Evropě nosila, nástup takového odění se datuje až do 30. let 14. století. Též střih surcotu je netypický. Proto se autoři tohoto článku pokusili o novou rekonstrukci střihu, přičemž pracovali s dokumentací pořízenou při restaurování v Abegg-Stiftung v Riggisbergu. Podle nových závěrů byl Rudolf I. do rakve oděn do pláště z látky s draky a obláčky, do vypodšívkovaného oděvu s rukávy z tkaniny s ptáky a do dlouhých nohavic z látky s draky a obláčky. Pro ověření nové teorie byla ušita napodobenina oděvu. Klíčová slova: Pražský hrad -Rudolf I. (IV.) Habsburský -plášť -surcot -cotte -nohavice -archeologický textil. New reconstruction of the funeral attire of Rudolf I (IV) of Habsburg, called KašeAbstract: The funeral garments of Czech King Rudolf I (IV) of Habsburg ( † 1307) were removed from his tomb in the royal crypt in St. Vitus' Cathedral at Prague Castle in 1991. They were then restored by the Abegg-Stiftung company in Riggisberg. The attire consisted of two similar lampas fabrics of central-Asian provenance from the 13th/14th century. The patterns were woven by wefts made up of strips of animal origin (leather) gilded on the outside and silver-plated on the inside. The first fabric has a pattern with the motif of birds holding a twig or fish in their beaks, the other features Chinese dragons and clouds. Complete male attire was reconstructed from these fabrics in 1995: a cloak with a trail, a sleeveless surcoat and a short tight jacket. The surcoat and the jacket had a lining. However, this reconstruction does not correspond to fashion in Europe in the early 14th century as this kind of clothing is only reported from the 1330s onwards. The cut of the surcoat is not typical, either, which is why the authors carried out a new reconstruction, working with the documentation made during the restoration in the Abegg-Stiftung workshop in Riggisberg. New conclusions show that Rudolf I was dressed in a cloak made of the fabric with dragons and clouds, a garment with sleeves and a lining made of the fabric with birds, and in hose of the fabric with dragons and clouds. A replica of the clothing was made to test this new theory.
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