One of the few autobiographies to have survived from the Middle Ages, this life history of one of the most influential rulers of the fourteenth century, Charles IV of Bohemia, covers his life from birth until his election as King of Germany in 1346. Charles IV describes his childhood, spent mainly in the court of French kings, his juvenile years, his marriage and his first steps into the international political scene during the early part of the fourteenth century. A unique addition to this volume is the first ever English translation of the Legend of Saint Wenceslas, written by Charles IV of Luxemburg. This is the first autobiography to contain both the Latin narrative sources and a complete English-language translation.
The Czech king and Roman Emperor Charles IV met with the French king Charles V in Paris in 1378. The author describes with intelectual brilliance and narrative talent the journey from Prague to Paris as a step by step journey reportage using contemporary French chronicles and vast medievistic literature as well as many beautiful illustrations. The result is an appealing account on medieval life, everyday and intelectual, mentality, grand European politics of the time or even medieval cuisine. The first part of the book presents the well-known facts of Charles IV life (brought up in Paris, his father’s John Luxemberg’s political and representational activities, his international goals, etc.). The middle part of the book brings a transcription of richly illustrated French chronicles. The third part analyses the importance of the meeting of the two most powerful European rulers of the time. Final and most original part consists of individual studies concerning practical organisation of medieval festivities, its logistic, transport, or culinary details, the court manners, relationships and symbolics. Šmahel draws from latest knowledge and methods from archeology and microhistory to cultural anthropology or iconography. This as a highly readable account of medieval time inspiring in its originality for expert historians as well as appealing to the general public.
The Golden Bull of 1356 (German: Goldene Bulle, Latin: Bulla Aurea) was a decree issued by the Imperial Diet at Nuremberg and Metz (Diet of Metz (1356/57)) headed by the Emperor Charles IV which fixed, for a period of more than four hundred years, important aspects of the constitutional structure of the Holy Roman Empire. It was named the Golden Bull for the golden seal it carried.
This catalogue accompanies the Fall 2005 exhibition that celebrates the flowering of art in medieval Prague, when the city became not only an imperial but also an intellectual and artistic capital of Europe. Scholars trace the distinctly Bohemian art that developed during the reigns of Holy Roman Emperor Charles IV and his sons; the artistic achievements of master craftsmen; and the rebuilding of Prague Castle and of Saint Vitus' Cathedral. -- Metropolitan Museum of Art website.
Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.
In this first up-do-date, single volume history of the Czechs, Agnew provides an introduction to the major themes and contours of Czech history for the general reader from prehistory and the first Slavs to the Czech Republic's entry into the European Union."
A Source Book for Mediæval History is a scholarly piece by Oliver J. Thatcher. It covers all major historical events and leaders from the Germania of Tacitus in the 1st century to the decrees of the Hanseatic League in the 13th century.
During his reign, King Charles I (1600-1649) assembled one of Europe's most extraordinary art collections. Indeed, by the time of his death, it contained some 2,000 paintings and sculptures. Charles I: King and Collector explores the origins of the collection, the way it was assembled and what it came to represent. Authoritative essays provide a revealing historical context for the formation of the King's taste. They analyse key areas of the collection, such as the Italian Renaissance, and how the paintings that Charles collected influenced the contemporary artists he commissioned. Following Charles's execution, his collection was sold. This book, which accompanies the exhibition, reunites its most important works in sumptuous detail. Featuring paintings by such masters as Van Dyck, Rubens and Raphael, this striking publication offers a unique insight into this fabled collection. AUTHORS: Desmond Shawe-Taylor is Surveyor of the Queen's Pictures. Per Rumberg is Curator at the Royal Academy of Arts, London. David Ekserdjian is Professor of Film and Art History at the University of Leicester. Dr Barbara Furlotti is Associate Lecturer at the Courtauld Institute of Art, London. Gregory Martin, formerly Curator of Baroque Paintings and Assistant Keeper of the National Gallery, London, is Editor of the Corpus Rubenianum. Guido Rebecchini is Lecturer and Head of the Renaissance Section at the Courtauld Institute of Art, London. Vanessa Remington is Senior Curator of Paintings at The Royal Collection. Dr Karen Serres is the Schroder Foundation Curator of Paintings at the Courtauld Gallery, London. Lucy Whitaker is Assistant Surveyor of the Queen's Pictures. Jeremy Wood is Professor Emeritus of Art History at the University of Nottingham. Helen Wyld is Curator at National Museums Scotland. SELLING POINTS: * The compelling story of the British monarch who created one of the most stupendous art collections ever assembled * Accompanies the once-in-a-lifetime exhibition that brings together astonishing works by Van Dyck, Rubens, Titian, Holbein, Mantegna and Rembrandt, among many others * A major BBC TV series on the Royal Collection and a documentary on Charles I is planned 200 colour illustrations
