The silver mining and processing complex in the Vrbické Hory area, 9.5 km NNW of Světlá nad Sázavou was one of the most important early modern period mining sites in the Czech-Moravian Highlands. The deposit, mined in two stages from 1547 to the early 1590s, provided several hundred kilograms of the precious metal. The stopes, which extended to a depth of approx. 80 m, ran along three principal vein zones, partly drained through hereditary adits, with further prospecting work in the area. The mined ore was smelted on site; mineral processing and metallurgical plants could take advantage of the energy system of the reservoirs on the nearby watercourses, and two mining settlements appeared by the mines. The mining was funded by numerous investors from Bohemia and Germany (burghers, nobles, officials, mining and coin experts). However, there was also significant involvement on the part of the landed nobility: the frequently alternating owners of the land on which mines were situated included the ruler, imperial princes, higher- and lower-ranking nobles and wealthy burghers. However, mining was complicated by the area’s position on the boundaries of several estates and interference from landowners, disagreements amongst miners and persistent drainage problems. This study, based on the latest field prospecting surveys and revision of the available written sources summarises our existing knowledge and highlights the potential for further research., Jiří Doležel., and Obsahuje seznam literatury
Studie Elišky Baťové se zabývá dosud nepříliš hodnocenou koncepcí liturgického roku v duchovních písních od biskupa Jednoty bratrské a teologa Jana Augusty., The goal of the present study is to bring together the questions of hymnological research with the history of the liturgy and homiletics. In the integrated liturgical conception of Jan Augusta as it is known to us thanks to two Viennese manuscripts and a newly processed, unique printed document from the Unity of the Brethren church, these areas cannot be separated, since they mutually support each other to create a whole. The author has therefore dedicated herself to the broader context of the creating of a new arrangement of Biblical readings and songs in the Unity of the Brethren church, regarding which there were disputes from its inception in 1545 until the deaths of Jan Blahoslav and of Jan Augusta in 1572., Eliška Baťová., Rubrika: Studie, and Anglické resumé na s. 43, anglický abstrakt 33.
Discantus and Altus part-books (sign. NM-CMH AZ 84) were made by the later binding of component parts consisting of four prints and five manuscripts from the 1540s through about the 1590s. For the first time, the professional community can familiarize itself with their external description and contents. Those contents consist predominantly of compositions intended for Vespers (Magnificat settings and hymns). Special attention is paid to two Magnificat settings Bohemian Christmas and Easter songs in the discant part. For each of the twelve songs, the oldest known incidences of their melody and text were identified, and transcriptions of the songs are also included. The discant part-book AZ 84 represents an indispensable source for the genesis of some of the songs (Všem věc divná, neslýchaná [To All Something Strange, Unheard-Of], Hory se zelenají [The Hills Turn Green], Plešíc již všecko stvoření [All Creation Now Rejoicing], Šalomúnovy postele šedesáte ostříhalo [Sixty Men around Solomons Bed]), Dagmar Štefancová., Rubrika: Studie, and Anglické resumé na s. 22.
The article is devoted to two images with the theme of Law and Grace, which are associated with the name of Lucas Cranach the Elder (both in the National Gallery in Prague). The first is dated to 1529 and does not have the original format, which plays a fundamental role for the interpretation of the iconography, because in the past there was a secondary reduction of the image, during which a band with biblical citations was removed. Other passages from the Bible were placed also on the surface of the image, but these were removed as nonoriginal during a restoration in 1971-1972. According to the literature so far, the panel of Law and Grace conveys one of the bases of Luther’s teaching on justification through faith. This was called into question by Matthias Weniger, according to whom the concept of the work is drawn from Erasmianism; he demonstrated his observations i.a. on the biblical citations in Cranach’s original. The inscriptions from the image were removed, so Weniger was working with inscription preserved on a copy of this composition. It is, however, not possible to consider it as such a trustworthy source for us to amend the so-far accepted interpretation of Cranach’s original from 1529. and Olga Kotková.
Zpráva Lukáše Michaela Vytlačila pojednává o muzikologickém semináři vědeckého týmu Musica Rudolphina k hudbě v době císaře Rudolfa II., který se uskutečnil v pražské Nadaci pro dějiny kultury ve střední Evropě dne 31. května 2015., Lukáš M. Vytlačil., Rubrika: Konference, and Cizojazyčné resumé není.