The Flickr Holyromanemperorrudolfii Image Generatr

Details best viewed in Original Size.

St. Salvator Church is a Catholic church in the Klementinum in Old Town, Prague, Czechia. The Church is located at the foot of the Charles Bridge and next to the church of St. Francis of Assisi. It was built on the foundations of the Gothic Church of St. Clement, affiliated with the Dominican Order. For many years, from the turn of the 16th-17th century, it was gradually built by anonymous people, then by Carlo Lurago and Francesco Caratti. As early as 1578 - 1581, the Society of Jesus (Jesuits), led by Rector Giovanni Paolo Campana, laid the foundations of the building, then a chancel and a transept were built. In 1581, the primate of the neighboring Jewish ghetto, Mordechai Maisel donated 100 thalers to build the church, which testifies to a completely unprecedented tolerant atmosphere and the peaceful coexistence of different religions within the Prague of Holy Roman Emperor Rudolf II. At the beginning of the 17th century, a whole nave and a western marble portal with a portico were built. The church received built-in emporiums and stucco decoration. The construction was managed by the Italian architect Carlo Lurago. At the end of the 1740s, a dome was hung above the sanctuary, decorated with stucco from the workshop of Johann Georg Bendl. This is the so-called false dome of the octagonal floor plan on the tholobate, or the upright part of a building on which a dome is raised. The stucco decoration later had to be removed for its weight and replaced with a new one. From 1654 to 1659, according to Lurago's design, a new representative façade was built with three arched arcades reminiscent of Roman triumphal arches. The church towers were modified and raised in 1714 by architect František Maximilián Kaňka. In the 18th century, anti-Reformation Jesuit theologian Antonín Koniáš occasionally preached in the church. Between 1805 and 1819, Bernard Bolzano, a university preacher, was here. Jakub Jan Ryba played the organ here in the 1880s. In 1950, Oto Mádr devoted himself to the pastoral care of university youth.
Additional information on the Church of Saint Salvator may be obtained at Wikipedia.

Details best viewed in Original Size.

St. Salvator Church is a Catholic church in the Klementinum in Old Town, Prague, Czechia. The Church is located at the foot of the Charles Bridge and next to the church of St. Francis of Assisi. It was built on the foundations of the Gothic Church of St. Clement, affiliated with the Dominican Order. For many years, from the turn of the 16th-17th century, it was gradually built by anonymous people, then by Carlo Lurago and Francesco Caratti. As early as 1578 - 1581, the Society of Jesus (Jesuits), led by Rector Giovanni Paolo Campana, laid the foundations of the building, then a chancel and a transept were built. In 1581, the primate of the neighboring Jewish ghetto, Mordechai Maisel donated 100 thalers to build the church, which testifies to a completely unprecedented tolerant atmosphere and the peaceful coexistence of different religions within the Prague of Holy Roman Emperor Rudolf II. At the beginning of the 17th century, a whole nave and a western marble portal with a portico were built. The church received built-in emporiums and stucco decoration. The construction was managed by the Italian architect Carlo Lurago. At the end of the 1740s, a dome was hung above the sanctuary, decorated with stucco from the workshop of Johann Georg Bendl. This is the so-called false dome of the octagonal floor plan on the tholobate, or the upright part of a building on which a dome is raised. The stucco decoration later had to be removed for its weight and replaced with a new one. From 1654 to 1659, according to Lurago's design, a new representative façade was built with three arched arcades reminiscent of Roman triumphal arches. The church towers were modified and raised in 1714 by architect František Maximilián Kaňka. In the 18th century, anti-Reformation Jesuit theologian Antonín Koniáš occasionally preached in the church. Between 1805 and 1819, Bernard Bolzano, a university preacher, was here. Jakub Jan Ryba played the organ here in the 1880s. In 1950, Oto Mádr devoted himself to the pastoral care of university youth.
Additional information on the Church of Saint Salvator may be obtained at Wikipedia.

Two heads made from flowers and fruit representing the seasons Spring and Summer, c1580-1620
Etching

One of Rudolf's prized court artists was the Milanese Giuseppe Arcimboldo (1526-1593), who was renowned for his curious, almost surreal, paintings and portaits made up of composite images. From 1593, he worked in Vienna for Rudolf's father and predecessor, Maximilian II, and he later followed Rudolf to Prague. His composite heads spoke to the emperor's taste for unusual flora and fauna, wonders and aberrations of nature.
Although Arcimboldo did not design prints himself, his style became popular and was widely imitated and copied in prints...Two heads made from flowers and fruit representing the seasons Spring and Summer is an homage to Arcimboldo, loosely based on his paintings of the Four Seasons in Rudolf's collection.
[British Museum]

Taken during from the exhibition


Printmaking in Prague Art from the Court of Rudolf II
(March to August 2022)

Holy Roman Emperor Rudolf II was an avid collector and knowledgeable patron of the arts.
In this exhibition, visitors learned about printmaking in Rudolf's court in Prague during the highpoint of innovative and ambitious prints made from around 1580 until the early years of the 17th century.
After moving his court to the Bohemian capital of Prague, Rudolf transformed the city into a vibrant centre of art and science. He acquired objects from all over Europe and beyond, and amassed one of the largest and most diverse collections of his time. His collection of thousands of paintings, prints, drawings, sculptures, and other objects of curiosity and wonder led him to be described as the greatest art patron in the world by biographer Karel van Mander in 1604.
Rudolf also sought out leading artists for his court, including painters and sculptors who specialised in creating elegant, elongated forms. Aegidius II Sadeler was appointed as the imperial engraver to Rudolf's court, and together with Hendrick Goltzius and Jan Muller, he reproduced these artworks as prints – a move that disseminated Rudolf's courtly style to a much broader audience.
Through the Museum's collection of Rudolfine art, on display for the very first time, visitors discovered more about one of the most varied, expansive and technically dazzling periods of printmaking history.
[British Museum]

Two heads made from flowers and fruit representing the seasons Spring and Summer, c1580-1620
Etching

One of Rudolf's prized court artists was the Milanese Giuseppe Arcimboldo (1526-1593), who was renowned for his curious, almost surreal, paintings and portaits made up of composite images. From 1593, he worked in Vienna for Rudolf's father and predecessor, Maximilian II, and he later followed Rudolf to Prague. His composite heads spoke to the emperor's taste for unusual flora and fauna, wonders and aberrations of nature.
Although Arcimboldo did not design prints himself, his style became popular and was widely imitated and copied in prints...Two heads made from flowers and fruit representing the seasons Spring and Summer is an homage to Arcimboldo, loosely based on his paintings of the Four Seasons in Rudolf's collection.
[British Museum]

Taken during from the exhibition


Printmaking in Prague Art from the Court of Rudolf II
(March to August 2022)

Holy Roman Emperor Rudolf II was an avid collector and knowledgeable patron of the arts.
In this exhibition, visitors learned about printmaking in Rudolf's court in Prague during the highpoint of innovative and ambitious prints made from around 1580 until the early years of the 17th century.
After moving his court to the Bohemian capital of Prague, Rudolf transformed the city into a vibrant centre of art and science. He acquired objects from all over Europe and beyond, and amassed one of the largest and most diverse collections of his time. His collection of thousands of paintings, prints, drawings, sculptures, and other objects of curiosity and wonder led him to be described as the greatest art patron in the world by biographer Karel van Mander in 1604.
Rudolf also sought out leading artists for his court, including painters and sculptors who specialised in creating elegant, elongated forms. Aegidius II Sadeler was appointed as the imperial engraver to Rudolf's court, and together with Hendrick Goltzius and Jan Muller, he reproduced these artworks as prints – a move that disseminated Rudolf's courtly style to a much broader audience.
Through the Museum's collection of Rudolfine art, on display for the very first time, visitors discovered more about one of the most varied, expansive and technically dazzling periods of printmaking history.
[British Museum]

Carved vessel in form of fish, c.1600-1650
Rock crystal with brass collet

Rudolf II sought out specialised craftspeople for his court, and created an environment in which they could flourish and innovate. The Miseroni family had established a reputation for carving rock crystal in Milan, and Rudolf invited Ottavio Miseroni (1567-1624) to his court in 1588, in order to introduce his skills to Bohemia and apply them to the region's stores of semi-precious stones. Rock crystal, one of the hardest minerals, was imported from the Alps, and extraordindary skill was required to cut and shape it into elegant forms. Rudolf's famous Kunstkammer had a cabinet full of carved rock crystal. The sumptuous products of the Miseroni workshop inspired less able imitators.
The carving of the rock-crystal fish echoes a famous Miseroni invention - the dragon fish.
[British Museum]

Taken during from the exhibition


Printmaking in Prague Art from the Court of Rudolf II
(March to August 2022)

Holy Roman Emperor Rudolf II was an avid collector and knowledgeable patron of the arts.
In this exhibition, visitors learned about printmaking in Rudolf's court in Prague during the highpoint of innovative and ambitious prints made from around 1580 until the early years of the 17th century.
After moving his court to the Bohemian capital of Prague, Rudolf transformed the city into a vibrant centre of art and science. He acquired objects from all over Europe and beyond, and amassed one of the largest and most diverse collections of his time. His collection of thousands of paintings, prints, drawings, sculptures, and other objects of curiosity and wonder led him to be described as the greatest art patron in the world by biographer Karel van Mander in 1604.
Rudolf also sought out leading artists for his court, including painters and sculptors who specialised in creating elegant, elongated forms. Aegidius II Sadeler was appointed as the imperial engraver to Rudolf's court, and together with Hendrick Goltzius and Jan Muller, he reproduced these artworks as prints – a move that disseminated Rudolf's courtly style to a much broader audience.
Through the Museum's collection of Rudolfine art, on display for the very first time, visitors discovered more about one of the most varied, expansive and technically dazzling periods of printmaking history.
[British Museum]

Hercules Slaying the Hydra, c1602
Jan Harmensz Muller after Adriaen de Vries
Engraving touched in black chalk

Muller made a series of engravings of statues by Adriaen de Vries. He used drawings or wax models by De Vries, which relayed information about the large-scale projects. This print shows the sculptural group on top of a fountain in Augsburg. Muller's finely engraved lines depict a powerful Hercules with foreshortened limbs and straining muscles, wrestling the many-headed Hydra. This is a proof impression: the figures have been engraved, and Muller has drawn the plinth in black chalk.
[British Museum]

Taken during from the exhibition


Printmaking in Prague Art from the Court of Rudolf II
(March to August 2022)

Holy Roman Emperor Rudolf II was an avid collector and knowledgeable patron of the arts.
In this exhibition, visitors learned about printmaking in Rudolf's court in Prague during the highpoint of innovative and ambitious prints made from around 1580 until the early years of the 17th century.
After moving his court to the Bohemian capital of Prague, Rudolf transformed the city into a vibrant centre of art and science. He acquired objects from all over Europe and beyond, and amassed one of the largest and most diverse collections of his time. His collection of thousands of paintings, prints, drawings, sculptures, and other objects of curiosity and wonder led him to be described as the greatest art patron in the world by biographer Karel van Mander in 1604.
Rudolf also sought out leading artists for his court, including painters and sculptors who specialised in creating elegant, elongated forms. Aegidius II Sadeler was appointed as the imperial engraver to Rudolf's court, and together with Hendrick Goltzius and Jan Muller, he reproduced these artworks as prints – a move that disseminated Rudolf's courtly style to a much broader audience.
Through the Museum's collection of Rudolfine art, on display for the very first time, visitors discovered more about one of the most varied, expansive and technically dazzling periods of printmaking history.
[British Museum]

Hercules Slaying the Hydra, c1602
Jan Harmensz Muller after Adriaen de Vries
Engraving touched in black chalk

Muller made a series of engravings of statues by Adriaen de Vries. He used drawings or wax models by De Vries, which relayed information about the large-scale projects. This print shows the sculptural group on top of a fountain in Augsburg. Muller's finely engraved lines depict a powerful Hercules with foreshortened limbs and straining muscles, wrestling the many-headed Hydra. This is a proof impression: the figures have been engraved, and Muller has drawn the plinth in black chalk.
[British Museum]

Taken during from the exhibition


Printmaking in Prague Art from the Court of Rudolf II
(March to August 2022)

Holy Roman Emperor Rudolf II was an avid collector and knowledgeable patron of the arts.
In this exhibition, visitors learned about printmaking in Rudolf's court in Prague during the highpoint of innovative and ambitious prints made from around 1580 until the early years of the 17th century.
After moving his court to the Bohemian capital of Prague, Rudolf transformed the city into a vibrant centre of art and science. He acquired objects from all over Europe and beyond, and amassed one of the largest and most diverse collections of his time. His collection of thousands of paintings, prints, drawings, sculptures, and other objects of curiosity and wonder led him to be described as the greatest art patron in the world by biographer Karel van Mander in 1604.
Rudolf also sought out leading artists for his court, including painters and sculptors who specialised in creating elegant, elongated forms. Aegidius II Sadeler was appointed as the imperial engraver to Rudolf's court, and together with Hendrick Goltzius and Jan Muller, he reproduced these artworks as prints – a move that disseminated Rudolf's courtly style to a much broader audience.
Through the Museum's collection of Rudolfine art, on display for the very first time, visitors discovered more about one of the most varied, expansive and technically dazzling periods of printmaking history.
[British Museum]

Carved vessel in form of fish, c.1600-1650
Rock crystal with brass collet

Rudolf II sought out specialised craftspeople for his court, and created an environment in which they could flourish and innovate. The Miseroni family had established a reputation for carving rock crystal in Milan, and Rudolf invited Ottavio Miseroni (1567-1624) to his court in 1588, in order to introduce his skills to Bohemia and apply them to the region's stores of semi-precious stones. Rock crystal, one of the hardest minerals, was imported from the Alps, and extraordindary skill was required to cut and shape it into elegant forms. Rudolf's famous Kunstkammer had a cabinet full of carved rock crystal. The sumptuous products of the Miseroni workshop inspired less able imitators.
The carving of the rock-crystal fish echoes a famous Miseroni invention - the dragon fish.
[British Museum]

Taken during from the exhibition


Printmaking in Prague Art from the Court of Rudolf II
(March to August 2022)

Holy Roman Emperor Rudolf II was an avid collector and knowledgeable patron of the arts.
In this exhibition, visitors learned about printmaking in Rudolf's court in Prague during the highpoint of innovative and ambitious prints made from around 1580 until the early years of the 17th century.
After moving his court to the Bohemian capital of Prague, Rudolf transformed the city into a vibrant centre of art and science. He acquired objects from all over Europe and beyond, and amassed one of the largest and most diverse collections of his time. His collection of thousands of paintings, prints, drawings, sculptures, and other objects of curiosity and wonder led him to be described as the greatest art patron in the world by biographer Karel van Mander in 1604.
Rudolf also sought out leading artists for his court, including painters and sculptors who specialised in creating elegant, elongated forms. Aegidius II Sadeler was appointed as the imperial engraver to Rudolf's court, and together with Hendrick Goltzius and Jan Muller, he reproduced these artworks as prints – a move that disseminated Rudolf's courtly style to a much broader audience.
Through the Museum's collection of Rudolfine art, on display for the very first time, visitors discovered more about one of the most varied, expansive and technically dazzling periods of printmaking history.
[British Museum]