Text vyhodnocuje nálezy získané při záchranném výzkumu u obce Knovíz ve středních Čechách. Jeden ze 14 zahloubených objektů z 12. až 1. pol. 13. stol. a několik movitých nálezů z jejich výplně indikují lokální železářskou aktivitu. Geologické charakteristiky mikroregionu a nálezy nedalekých středověkých těžebních šachet dovolují interpretovat situaci v Knovízi jako pozůstatky pracoviště zaměřeného na extrakci železné rudy v blízkosti místa těžby, popř. i na následné metalurgické činnosti. Text upozorňuje na nezbytnost analýz zemin z výplně pyrotechnologických objektů, jež mohou identifikovat konkrétní železářské či jiné výrobní aktivity. and On 12th–13th centuries ironworks in Knovíz, Central Bohemia. This work is an evaluation of finds uncovered during rescue excavations at the village of Knovíz in Central Bohemia. One of the 14 sunken features from the 12th to the first half of the 13th century, and several finds from their fills, point to local ironwork activity. The geological features of the micro-region and finds from nearby medieval mine shafts allow us to interpret the find in Knovíz as a workplace aimed at the extraction of iron ore nearby the mining venue; it may also have been involved in ensuing metallurgy activities. This work points to the importance of analyses of the soil from the fill of the pyrotechnological features, which helps to identify the specific ironwork, or other, activity.
a1_The pastoral opera L’Amor non ha legge (premiered in Jaroměřice, 1728) was composed by the vicekapellmeister Antonio Caldara, based on libretto by Domenico Bonlini. It is the first attested dramatic musical composition written at the direct order of Count Johann Adam Questenberg (1678-1752), a connoisseur of music, skilled lute player, an occasional composer, and - above all - a passionate promoter of the Italian opera seria. The present article concerns with the generic examination of the plot of opera seria, with regard to its superior genre, favola pastorale. In L’Amor non ha legge, living in harmony with the Nature gains general appraisal, the Idyllic merry-making in the countryside being sharply contrasted with life in the city and at the (imperial) court. As a result, the main character, young aristocrat, having become enamoured with a shepherdess, leaves for the country where he is allowed to repose and forget the hustle and bustle of the city, as well as its corruptness. These characteristics seem to be fitting the personality of Count Questenberg himself, who sought a refuge from the city to his castle of Jaroměřice, set in the rural region of Southern Moravia. As Bonlini states in his introductory argomento, the aim of the opera is, primarily, to celebrate simple, undemanding Love. Not coincidentally, both meanings of the word ’Amor’ are made use of in the libretto; the abstract ’Love’, as well as the personified name of the God of Love - Amor. Love verses and lovely affections are abundant in the language and the plot of the opera; what Bonlini is most concerned with, especially in the arias, is to depict as many aspects of Love, hence the affects, as possible: constant love, love suffering, requited love, noble love, miserable love, vain love, martyred love, jealous love, despising love, even paternal love., a2_The message of the opera L’Amor non ha legge, therefore, is the imperative of symbiosis between Man and the Laws of Nature; the Law of Love, superior even to the obstacles of social inequality, should - according to Bonlini - always be in accordance with the Reason. Favorizing the pastoral environment over the court and city, in particular, can be read as a laud of the castle of Jaroměřice, which the Count was justly proud of, and which he identified with considerably., Jana Perutková., and Obsahuje bibliografické odkazy