The study is an attempt at a reconstruction of the course of the Easter celebrations in the church of the Benedictine monastery of St George at Prague Castle from the period around 1200, to when the earliest preserved record is dated, until the 15th century. The first part of the celebration was the Quem queritis dialogue; in the next act the meeting of Mary Magdalene with Christ was played out and in the third part the amassed believers were ceremonially shown the linen from the empty Sepulchre. From the 14th century, the meeting of Mary with the Spice Merchant was included before these three scenes. Where and how these scenes were played is not entirely apparent from the rubrics of the preserved liturgical manuscripts. The showing of the linen probably took place on the stairs to the eastern chancel and according to one of the records from the 14th century at the ‘iron tomb’, which might have been the tomb of Duke Boleslav II, buried in front of the staircase. The first two scenes thus almost certainly took place in the area of the eastern chancel, where the main altar was, initially transformed each year into a temporary Holy Sepulchre. A permanent stone Sepulchre, which was established there between 1344 and 1345, presented an entirely open architecture - which differed from the generally widespread closed coffin-like forms - apparently bearing the relics of St Ludmila in the tomb of green porphyry. From the 14th century, the ritual of Depositio crucis, in which a cross was placed in the Sepulchre, also began to be performed. and Petr Uličný.
The Rožmberk family legend, which derived the origin of Bohemia´s leading aristocratic dynasty from the Roman Orsini, is usually attributed to Oldřich II of Rožmberk. This attribution however relies on indirect arguments. This article argues that the Orsini claim emerged at least a generation earlier. The conclusion relies on a letter which King Sigismund of Luxembourg addressed to the city commune of Trogir in Dalmatia in 1411 and which contains an allusion to the supposed kinship. The document surveved only as a seventeenth-century copy among papers of the Dalmatian scholar Giovanni Lucio. The internal signs of the writing as well as Lucio´s scholastic profile seem to exclude the possibility that Lucio would have forged it. The early emergence of the claim contradicts neither the broader context of the Orsini legend in various regions of the late-medieval Europe, nor other fifteenth-century documents so far known on the existence of the Orsini myth within the Rožmberk family. These documents, I suggest, shouldbe read in a different way as usual., Petr Maťa., and Obsahuje poznámky pod čarou
The aim of this paper is to describe 18th century "language criticism" (Sprachkritik) in the Bohemian Lands and underline its role within the process of establishing of the literary criticism. In the Habsburg monarchy, the language criticism can be traced back to the late 1740s; its origins are linked to the southern German sense of cultural (and thus linguistic), political and economical backwardness and to the efforts to catch up with the mostly protestant countries of Central and Northern Germany. The authors of this article examine not only reflections of used language and style in particular works, but also the position, prestige and function of various languages (German, Latin, Czech) themselves. The trends in language criticism and - in the narrower sense - language cultivation are examined with the use of both expert contributions to learned discussions and publicistic articles in critical journals aiming at a larger audience. In the whole process, several moments that meant a significant impulse for language criticism can be observed. The first one would be the appointment of Karl Heinrich Seibt as university professor of Schöne Wissenschaften (belles lettres), rhetoric, historia litteraria and ethics in 1763, followed by the efforts to establish a learned society, Josephine reforms and foundation of a chair of Czech language and literature at Prague university in 1791. Finally, the tightening of censorship from the second half of 1790s on had a considerable influence on criticism; its subject started to change and it began to focus on a different group of intended readers: while it used to try to educate potential future authors, afterwards it concentrated more and more on educating of the "common reader" and engaging him into critical reflections on belles lettres., Václav Petrbok a Ondřej Podavka., and Obsahuje bibliografické odkazy