Za posledních několik let byla publikována řada významných archeogenetických studií týkajících se datování a geografické lokalizace posledního společného předka lidského chromozomu Y. Je to dáno dramatickým rozvojem molekulárně biologických technik, díky nimž je dnes možné přečíst daleko větší objem dat, než tomu bylo dříve. Dozvěděli jsme se, že „Y chromozomový Adam“ bude asi nakonec starší než „mitochondriální Eva“ a že jeho synové prodělali mnohem bouřlivější demografický vývoj než dcery Eviny., Several important archaeogenetic studies dealing with age estimates and the geographical locations of the last common ancestor of our Y chromosome have been published over the past few years. This is due to the dramatic development of molecular biological techniques, which made it possible to read a much larger amount of data than was possible before. We learned that the "Y chromosome Adam" might be even older than "mitochondrial Eve" and that his sons went through a much more complex demographic history than Eve’s daughters., and Viktor Černý.
This paper deals with the reconstruction of the now longer preserved gallery of coats of arms at Roupov Castle (District of Klatovy, Western Bohemia) based on manuscripts XVII.A.8 and XVII. E. 28 a from the Czech National Library. Information from individual manuscripts was combined to form an image of probably the largest Czech family coat of arms gallery at the end of the 16th century containing a collection of coats of arms from 270 noblemen and noblewomen. The gallery probands are Jan Nezdický of Roupov († before 1607) and his two wives – Dorota Bezdružická of Kolovraty and Benigna of Švamberk. The paper draws attention to the utilization of hitherto neglected manuscript sources for research into displays of self-awareness among the privileged classes and it attempts to show the way in which the nobility used genealogical and heraldic means for representative purposes. Not least, these manuscripts are often the only source of information on genealogical and heraldic artefacts which are no longer in existence.
The study is devoted to the trio of statues of the founders in the church of the former Benedictine Kastl Abbey. At the time of the origination of the statues, in the third quarter of the fourteenth century, Kastl was situated in immediate proximity to the southern border of the Upper Palatinate, which was annexed to the Lands of the Bohemian Crown. Soon thereafter, the joining of a new land ruled by the Luxembourg Dynasty and the Kingdom of Bohemia was symbolically reinforced when Charles IV renewed the long vanished title of Duke of Sulzbach and bestowed it on his son Wenceslas. If the statues in Kastl Abbey were in fact related to the Bohemian house of Luxembourgs, they would fit well into the context of the Charlesian depictions of monarchial predecessors in Prague, Karlstein, and Tangermünde. Nonetheless, the kinship with the Karlstein genealogy of Charles IV is not restricted to the ideological level; it is also obvious on the artistic level. The family tree that was completed shortly before the completion of the statues in Kastl Abbey includes exact models of figure types and their court attire. Analogies to the sculptural work can be traced to the 1350’s second-rate pre-Parlerian production in Rhineland and Central Europe. and Aleš Mudra.
herausgegeben von Konrad Wutke ; nebst einem Verzeichnis der Breslauer Bischöfe von J. Jungnitz., KČSN, Zadní desky nejsou k dispozici., and Přední desky z MVS.