Dientzenhofers and Loreto by LORETA PRAHA

Dientzenhofers

and Loreto

THE STORY OF LORETO FAÇADE

Anthology of Essays and Exhibition Catalogue

Petr Bašta, Markéta Baštová (edd.)

The Czech Capuchin Province 2017

DIENTZENHOFERS AND LORETO

DIENTZENHOFERS AND LORETO THE STORY OF LORETO FAÇADE

Anthology of Essays and Exhibition Catalogue Petr Bašta, Markéta Baštová (edd.)

The exhibition was organised in the period 14. 6. 2016 - 31. 12. 2017 by The Czech Capuchin province

Editors Petr Bašta, Markéta Baštová Authors of the Articles Petr Bašta, Markéta Baštová, Jiří Bláha, Veronika Koberová, Michaela Líčeníková, Petr Váňa, Tomáš Váňa Authors of Catalogue Articles Petr Bašta: 6, 8 - 11, 25 - 32, 35 Markéta Baštová: 1 - 5, 7, 12 - 24, 33 - 34 Production of architectural models

with participation of the following institutions:

3D digital materials Eva Pouzarová Tangible multifunctional model Otakar Ruček

The City of Prague Museum

photos on the inside of the cover: cat. n. 16 (front), kat. č. 20 (back) photos in text: cat. n. 17 (p. 4), cat. n. 20 (p. 10), cat. n. 18 (p. 12), cat. n. 8 (p. 90), cat. n. 28 (p. 100), cat. n. 16 (pp. 106, 125)

National heritage institution Territorial specialist department of the city of Prague

The National Museum

University of Pardubice faculty of restoration

Institute of Theoretical and Applied Mechanics AS CR, Centrum Excelence Telč

translation to English © Rosana Murcott, Philip Masheter translations from Latin © Pavel Zahradník foto © Petr Bašta, Jiří Bláha, Lobkowicz Collections o.p.s., Loreto Prague, The City of Prague Museum, National heritage institution graphic design © Markéta Baštová published by the Czech Capuchin Province 1st English edition Praha 2017

ISBN 978-80-906074-5-3 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form of by any means (electronic, mechanical, photocopying, recording, or otherwise), without the written permission of both the copyright owner and the authors of this book.

CONTENTS

Introduction

OUTLINE OF CONSTRUCTION DEVELOPMENT OF THE PRAGUE LORETO Michaela Líčeníková

THE ROOFS OF LORETO IN PRAGUE Jiří Bláha

RECONSTRUCTION OF THE FRONT FAÇADE OF LORETO 2014 – 2017 Summary of elemental information

RECONSTRUCTION OF FRONT FAÇADE OF LORETO FROM THE HERITAGE PRESERVATION PERSPECTIVE Veronika Koberová

SCULPTORS OF THE LORETO FAÇADE Petr Bašta

I WORK FOR LORETO A word from the restorer Petr Váňa

101

SET OF THE LORETO BALUSTRADE PUTTI ORIGINALS FROM THE HERITAGE PRESERVATION PERSPECTIVE Petr Váňa, Tomáš Váňa

107

LAURUS NASARETHANA – EMBLEMATIC CONCEPT OF CEREMONIAL DECORATION OF THE PRAGUE LORETO FRONT FAÇADE Several notes on the development of the one hundredth anniversary of the foundation in 1726 Markéta Baštová

136

CATALOGUE

189

Sources

193

Bibliography

203

Name Index

INTRODUCTION

To stage an exhibition about architecture in a manner that would be easily understood by both the expert and the general public, and in a visually interesting form, is not simple. Vedeutas, designs, archival records, architectonic models and visualisations, documents and information on the demanding reconstruction that is currently under way… the principal “exhibit” of the exhibition, however, still is the Loreto front façade per se, ingeniously uniting the former, indeed heterogeneous, street facing west side of the Loreto site. To exaggerate a little, one may say that, in the same way as the Loreto treasure acquired its value only with the bequest of the famous Diamond monstrance, the architecture of the Prague Loreto site of pilgrimage acquired its unique character within the baroque Prague urbanism only with the construction of the new front façade. The front façade is also the common denominator of all essays of this anthology, not only of its catalogue part. It is considered from various viewpoints, from positions of various expert professions, resulting in what may appear as a relatively inconsistent collection of essays. The editors humbly hope that the mosaic of texts conceived in this manner will, on the one hand, have the capacity to present numerous new art-historical findings and, on the other, to capture crucial moments of the newly completed reconstruction. May this book therefore be an expression of gratitude to all those who in some way contributed to the renovation of the excellent architectonic work of Christoph and Kilian Ignaz Dientzenhofer - the principal front façade of the Prague Loreto.

OUTLINE OF CONSTRUCTION DEVELOPMENT OF THE PRAGUE LORETO Michaela Líčeníková The site of Loreto, the place of pilgrimage located at the Prague Hradschin is widely known to scholars as well the lay public above all as a term, a school trip destination when mostly legends remain in one’s mind, a place associated with the Christmas visit of the charming Christmas Crib in the adjacent Capuchin convent, as a part of the building activities during the Thirty Years’ War and, at the same time, as a first-rate, almost textbook example of high Baroque art. For this very reason it makes sense to continue to focus on this site and to uncover its new secrets. Construction development of the Prague Loreto may be described as very complicated. The construction was taking place in the course of several centuries and its progress was not quite continuous. Starting with the initial idea of establishing this place of pilgrimage before 1626 and the subsequent construction of the centre of the site itself, the Santa Casa (Holy House of Loreto), through the gradual realisation of the cloisters, increasing of their capacity, construction of the Grand Chapel - subsequently the Church of the Nativity, to the impressive reconstruction of the front façade and construction of the entrance space in front of the front façade of the building. The four main points of the development are also reflected in the exhibition that preceded this anthology that will present the story of the place of pilgrimage in more detail. The Hradschin Loreto site is designed on a right-angled ground plan closed by four wings of the cloisters. Santa Casa, around which the whole premises is built, is both the construction and spiritual centre of the site. Disposition of the closed fortification type is typical for the early Baroque architecture of the places of pilgrimage (for example Svatá Hora near Příbram, but also Waldstein Loggia in Valdice near Jičín).1 To get an idea of the appearance of the Prague Loreto between 1626 and 1664 is only possible from archival texts. Around 1626, Kateřina Benigna of Lobkowicz gained possession of the confiscated lands where she decided to build a place of pilgrimage. After all, this process was quite common in the period after the Battle of White Mountain; obtaining building sites for his grandiose building endeavour in the same way was also Albrecht von Waldstein. And the building of Loreto as well as the Waldstein architecture may be described as the architecture of the Thirty Years‘ War which, owing to the war events, was not particularly frequent. The first construction accomplishment was the building of Santa Casa itself, the foundation stone of which was laid on 3rd June 1626 and the construction erected within one year. The outside decoration consisted of chiaroscuro mural paintings. In 1627, a copy of Our Lady of Loreto was brought to Prague but, unlike the original made of the Cedar of Lebanon, it was carved from limewood. On 25th March 1631,

Visualisation of the 1st architectonic model of the Prague Loreto the 1664 situation

Santa Casa was consecrated by the Cardinal Ernst Adalbert von Harrach. Survey of the cloister foundations started in the same year. The first known architect associated with the construction of Loreto was Giovanni Battista Orsi with whom Kateřina Benigna of Lobkowicz concluded a contract to build the cloisters in 1634. Known is also the name of the stuccoer Domenico Canevalle. Then the construction was again, quite typically for the Thirty Years’ War architecture, interrupted several times for several years. After Orsi’s death, the construction was continued by Andrea Allio who also became the new husband of Orsi’s widow. He died one year after and the construction was entrusted to another Italian, Silvestro Carlone the

The oldest known view of the Prague Loreto (detail) cat. n. 12 dated 1682

Elder. This took place towards the end of 1646 and, according to the evidence, the cloisters had not been plastered at this time. Being finished during those years was also the tower. It is possible to deduce the appearance of Loreto from the first known depictions that only start to appear when Loreto became more famous as one of the most significant places of pilgrimage of the Kingdom of Bohemia. These representations, together with archival reports, became the prototype of the first architectural model of the exhibition that is associated with the year 1664.2 Built on the central space of the whole premises on the longitudinal rectangular ground plan is Santa Casa, aÂ copy of the cult chapel in the Italian Loreto. According to aÂ legend, this simple construction was transferred from Nazareth and later (in the first two decades of the 16th century) encased in an impressive marble facing with reliefs by Donato Bramante. The Prague Loreto also has this double-shell construction. In the interior, it therefore still is aÂ simple brickwork construction indicating the original destructions. It is surrounded with

Gerard de Groos View of the Prague Loreto with the Virgin Mary frontispiece M. von Cochem, Prager Laureten Büchlein (detail) cat. n. 14 dated 1694

cloisters built on a latitudinal rectangular ground plan. The geometrical groundplan scheme may be described as “concentric” rectangles turned by 90 degrees. Santa Casa has a flat roof with attic. Unlike its Italian model, the exterior walls are, for now, decorated only with murals. Archival sources state that they were executed “in black paint on a white wall”. Included in the centres of the longer, west and east wings of the cloisters, are seven-axis constructions. In the case of the west entrance wing, it is a frontal building with the main entrance to the premises on the central axis with three window axes on the sides. Erected on the central axis, above the main entrance, is a polyhedral tower. It is crowned by a dome and a polyhedral roof lantern, the last level is, on every side, lit through a three-part opening with higher central part, so-called Serlian. The two-floor entrance building is roofed with a saddle roof. In the seven-axis central two-floor building, the east wing conceals the Chapel of the Nativity. The building is accentuated by a pair of polyhedral towers, in the model

protruding symmetrically from the north and the south hipped end. Connected to these seven-axis two-floor buildings are the cloister corridors running around the entire perimeter and opening to the courtyard by arcades with semicircular arches. On the outside, the cloisters are made up by a wall without windows and entrances. To be seen the centre of the north and the south wing are two very shallow rectangular protrusions of recently finished chapels with niches dedicated to St. Francis of Assisi and St. Anthony of Padua. So much for the early Baroque phase of the architecture belonging to the Thirty Year’s War period. It is a unique and all the more important building trend, thanks to which, contrary to all wartime hardships, several splendid works still exist in our country. Despite the fact that, towards the end of the 16th century, the construction development of Loreto compound, thanks to its simple scheme from the early Baroque phase kept to the conservative architectural tendencies, these tendencies were indisputably heading towards the high Baroque expression.

Visualisation of the 2nd architectonic model of the Prague Loreto the 1699 situation

2013

THE ROOFS OF LORETO IN PRAGUE Jiří Bláha

The timber elements of the roof frames above the cloisters and Church of the Nativity provide authentic period material from which we can gain valuable information on the construction history of individual sections of the building. A useful tool is dendrochronological dating which is extensively used for the investigation of historic roofs.1 Using radially drilled core samples taken from beams in places where the last growth ring is preserved, we can determine the year of felling. This method considerably contributed to the mapping of the gradual changes of the Loreto to create the most authentic architectural models possible.

The timber roof over the southern part of the east wing of the cloister

Meeting point of the mansard roof and the older roof over the middle part of the Church of the Nativity > The vault extending into the attic of the eastern part of the Church of the Nativity

Although the Holy House itself was already built in the years 1626–1627, it was not until 1630 that the surrounding plots were available following the demolition of previous buildings.2 A dendrochronological survey3 confirmed that at this time began the collection of the wood for the roofs of other buildings which were built gradually over the years 1631–1646. It was mainly for a cloister with small chapels and a dominating entrance building with a tower. The entire northern wing of the cloister contains beams made from trees felled at the turn of the years 1629/30 and 1630/31. It means that when Kilian Ignaz Dientzenhofer added another floor above the cloister gallery at the end of the 1740’s, the older roof had to be dismantled and reassembled again. A more thorough inspection actually looked at the tenons cut off from the ends of the original collar beams still fixed inside the mortises of each rafter. The oldest identified sample comes from pine trees felled at the turn of the years 1628/1629. Then followed two elements made from fir felled in the winter of 1629/30. All three beams are now used as rafters forming the lower pitched roof

1629-33 1697-99 1716-17 1720-23 1733-34 1744-48 1752-53

preserved under the roof of the southern section of the east wing of the cloisters. The other two rafters (1716/1717) come from the period corresponding to the construction of the oldest part of the Church of the Nativity and a sacristy which was situated southward from this between 1717 and 1722.4 The raised-up truss of the present form of the roof is related to the completion of the upper floor of the gallery (1747/1748). Imprints of older roofing on the external masonry of both east towers confirm that the form of the roofs above the eastern cloister changed at least three times. Two more samples (fir felled in the summer of 1630 and pine in the winter of 1632/1633) were matched to the initial period of construction of the Loreto complex. These came from the roof above the middle part of the western wing where the original Early Baroque timber roof, with typical steeply hipped ends, survived almost untouched by later alterations. An important change in the appearance of the northern part of the western wing – a new treasury extension – is represented by a roof truss made of

Diagram: Time periods of the entire construction as revealed by dendrochronological dating

2015

RECONSTRUCTION OF THE FRONT FAÇADE OF LORETO 2014 – 2017

Ist phase IInd phase IIIrd phase IVth phase

7/2014 - 1/2015 – drainage and desalination of the stone socle 4/2015 - 11/2015 – reconstruction of the middle part of the front façade with the carillon 4/2016 - 11/2016 – reconstruction of the lateral parts of the front façade 4/2017 - 9/2017 – reconstruction of the covered corridor with a bridge linking Loreto Sanctuary with the Capuchin Convent

PROJECT Atelier AV 19 s.r.o.

AUTHORS OF THE RESTORATION INVESTIGATIONS WITHIN THE PROJECT investigation of plaster layers and painting laboratory stratigraphic analysis of samples investigation of blacksmith‘s elements investigation of sculptures and stone elements investigation of sculptures by the method of ultrasound transmission

dendrochronological investigation and dating

Jitka Musilová (performing restorers Marek Scheib, Adam Souček) Dorothea Pechová Václav Minařík Jan Bradna, Tomáš Váňa Karol Bayer, Dana Macounová, Daniel Hvězda University of Pardubice, faculty of restoration

Jiří Bláha, Tomáš Kyncl (DendroLab Brno)

Institute of Theoretical and Applied Mechanics AS CR, Centrum Excelence Telč

2016

REALISATION Investor : Capuchin Province of the Czech Republic Ist phase IInd phase IIIrd phase IVth phase

Viktor Frič s.r.o. Mydlochova stavební s.r.o. Mydlochova stavební s.r.o. Mydlochova stavební s.r.o.

authorial and technical supervision

Michal Ibl, Atelier AV 19 s.r.o.

REALISATION OF RESTORATION WORKS WITHIN RECONSTRUCTION : restoration of stone sculptures restoration of stonemasonry elements restoration of blacksmith‘s elements gilding restoration of joinery elements

Petr Váňa, Tomáš Váňa Filip Zeman Robert Ritschel, David Ritschel Naděžda Březinová Jan Beran

RECONSTRUCTION IS TAKING PLACE WITH FINANCIAL CONTRIBUTION OF: Grant of the City of Prague for the historic preservation for 2015 (Ist + IInd phase of reconstruction) Grant from the Emergency programme of the Ministry of culture in 2015 (IInd phase of reconstruction) Grant of the City of Prague for the historic preservation for 2016 (IIIrd phase of reconstruction) Grant of the City of Prague for the historic preservation for 2017 (part of the IIIrd phase and IVth phase of reconstruction)

1903

RECONSTRUCTION OF FRONT FAÇADE OF LORETO FROM THE HERITAGE PRESERVATION PERSPECTIVE Veronika Koberová In the process of reconstruction of this historically highly-valued façade it is absolutely necessary that carried out prior to the start of the actual work is a careful preparation with an emphasis on individual restoration profession which will be involved in the structural repairs and, by extension, restoration work. The issue, in fact, is not only the repair of the façade rendering and its painting but also the restoration of the elaborate stucco decoration and the stonemasonry parts, including the sculptural decoration. Additionally, featuring prominently on the façade are forged elements, and not only various types of forged grillwork or the balcony rails above the main entrance, but also the entry gate to the grounds or the clock face of the tower. Integral part of the work is also the restoration of the windows which, together with the other components, constitute a unified whole.

Condition of the façade before reconstruction The façade of the Loreto premises last underwent an overall reconstruction in 1991 when the entire surface of the elaborately decorated front, including the stonemasonry decorations (with the exception of sculpture) was covered with a layer of silicone. New at the time, the untested material formed a delicate layer, only very slightly permeable to air, on the façade surface. In the recent years this caused part of the decoration to fall off and a damage to certain parts of the façade. Detail of damage to the head of the main façade pilaster

PREPARATORY PHASE OF RECONSTRUCTION 1. Colour scheme of the front façade in various periods of history in the view of the completed restoration exploration of the plaster and paint layers Detail of damage to lettering in cartouche on the bell tower > View of the elaborately shaped main cornice complemented with dentil, accentuated with grapes (situation before restoration)

To start with, an extensive restoration inquiry was carried out in 2010 in connection with the renovation of the façade. Its objective was to find the historical rendering, including the probable colour treatment of the main façade with tower and the adjacent connecting bridge. Precisely 104 probes in total were used on the front façade with the tower and the adjacent connecting bridge from the elevating work platform, which were documented in detail and evaluated. Results of this inquiry, however, are not unambiguous as only a few earlier colour layers were detected. This is caused not only by the loss of colour materials throughout the centuries, but, above all, also by careless repairs in the recent past. Nevertheless, some of the probes confirmed that the colours of the front façade were different throughout the time and it is possible to identify the earliest paint layers of the entire surface in the hue of light ochre, green

layer, pinkish ochre, golden ochre, grey hue or the latest layers of paint referring to golden ochres. One of the probes detected the hue of brick-red on the side edge of one of the window jambs of the main façade. It may therefore be presumed the colours were possibly like this. The exploration presents a detailed overview of colour layers that were found. They are as follows – arranged chronologically from the most recent layer: 1. 2. 3. 4.

colour scheme from the time of the last reconstruction in the 1990s, paint coat on the entire surface – gold ochre, unifying white milk of lime, modern cement stucco layer on the entire surface – this layer is to be found on flat parts of the façade as well as on the architectural components, 5. paint coat on the entire surface – grey, 6. paint coat on the entire surface – gold ochre,

Making colour samples for the Loreto façade – sampling took place in the left part of the front

SCULPTORS OF THE LORETO FAÇADE Petr Bašta

From the very beginning, the Prague Loreto founded in 1626 by Catherine Benigna of Lobkowicz is, of course, closely connected with all branches od art, sculpture included. In Santa Casa, the spiritual centre of the whole Loreto, stood the venerated statue of the Virgin Mary of Loreto, which, however, was a copy of the original in the Italian Loreto and may therefore not be assessed as a sculptural work in connection with the style development. Similar case is also the famous statue of St. Uncomber (Wilgefortis) bequeathed in 1654 by Catherine Benigna of Lobkowicz, establishing an altogether nontraditional cult in Prague.1 Although it may be assumed there was a sculpture decoration in the three main chapels of the cloisters, that is the great chapel of the Nativity of Our Lord, that is in the location of the present-day church, which was mentioned as early as 1640 during the construction of cloisters2 or the chapel of St. Francis and St. Anthony that were consecrated in 1664,3 we may only speculate about what was the sculpture decoration of these early Baroque premises. Quite understandably, the exterior sculpture decoration started to shape the appearance of Santa Casa itself, which, most probably owing to cost-saving reasons, was, in the first decades of its existence, decorated only with monochromatic paintings or, more precisely, drawings, the iconography as well as technique of which quite certainly emulated the original Holy House of Loreto.4 In 1664, Elisabeth Apollonia of Kolowrat concluded a contract with the Lesser Town of Prague stucco worker Giacomo Agosti who carried out the stucco decoration of the entire exterior of Santa Casa, replacing the original momochromatic decoration.5 Before long, however, Kolowrat had it repaired by Giovanni Battista Colomba. But Gianbattista Colomba was not the artist who gave Santa Case the appearance as we know it today. In 1671-1673, his work was replaced by the court stucco worker Giovanni Bartolomeo Cometa. Despite the fact the Capuchin annals do not mention anything about Cometa,6 his name is known from the certificate written to his benefit on 30th July 1675 by Wilhelm Albrecht Krakowský of Kolowrat when Cometa applied for the position of the court stucco worker.7 Dissatisfaction with the work of the first two masters probably resulted not from the deficiencies in artistic character, but rather form the lacking knowledge of technological procedures as stated by Kolowrat in the aforementioned certificate: “that in 1661, his deceased wife

Jan Oldřich Mayer (?) Statues of St. Wenceslas and St. Ludmila at the extension of the Holy Family (St. Joseph) altar in the same chapel

Elisabeth Apollonia entrusted master Agostano with the execution of he façade but he was inexperienced in the stucco work. In 1664, Giovanni Battista Colomba was entrusted with its repair. Colomba, however, was a fresco painter and did not understand the work with stucco. He spoiled it twice and so Bartolomeo Cometa was called in finally and carried it out perfectly”.

1692 - 93

Sculpture in the Loreto interior manifests itself above all in the furnishing of the chapels in the cloister and in the interior chapel, later the church of the Nativity of Our Lord. Coming into existence gradually in the 1680s and the 1690s, was the interior decoration of the corner chapels of the cloister that was gradually being added to until the 1730s. In the interior of the church, during its first extension,8 the sculptural decoration for the main altar was made by Jan Oldřich Mayer (1666–1721).9 It cannot be ruled out that Mayer may also be the creator of the pulpit, which comes from this construction period of the church. According to the sources, the transfer of the pulpit was, in 1737, entrusted to

Jan Michal Brüderle.10 Participation of Jan Oldřich Mayer may also not be ruled out in the case of the sculptural decoration of the Holy Family altar in the chapel of the same name built at the expense of Ludmila Eva Františka Kolowrat, née Hýzrle of Chodau.11 Despite the slight shift in style, the formal conception of St. Wenceslas and St. Ludmila in the retable is not dissimilar to the sculptural decoration of the lateral altar of Our Lady of Help in the church of Our Lady before Týn of 1706, also attributed to Mayer.12 Loreto front façade, similarly to the other parts of the building, went through a relatively complicated construction development, which is presently also reflected in the variedness of the set of sculptures situated today on the attic, the balcony, beside the entrance, in front of the corner chapels and on the forecourt balustrade. The beginnings of the sculptural decoration of the front façade are quite certainly associated with the radical reconstruction of the north

Fr. Preiss, workshop, statues of St. Matthew and St. John the Evangelist, today situated on the sides of the dormer windows of the left side avant-corps 1701

Fr. Preiss, workshop, the Annunciation statue of the Virgin Mary situated at the present day at the top of the dormer window of the left side avant-corps 1701

see also fig. on p. 62

part of the façade, which started on 15th October 1699 by laying of the foundation stone for the new treasury at the north part and two days later also at the south part of the front façade 13 As stated in the sources, “on the day of 18th and 19th June 1701, three stone sculptures were successfully pulled up to the new façade of the Loreto treasury, namely the depiction of the Virgin Mary greeted by an angel and two Evangelists. After their placement, the sculptures were sanctified by Father Joseph of Bílina, the Loreto sexton”.14 The figures of both Evangelists stand in the calm, solid poses of contraposto. The decorative draperies are mostly segmented by vertical folds, which wind the hands in multitude of folds falling from the hems in rich cascades. The fabric pleats are used in the statues as a significant decorative element complementing the volumetrically full

bodies. Remarkable is also the conception of the heads, above all the treatment of beards and hair of St. Matthew framing the stern face of the Apostle looking into an open book. The dating suggests an attribution to František Preiss in whose artistic output many similarities may be found.15 The triad, of course, also includes the kneeling figure of the Virgin Mary from the Annunciation group. The figure with arms crossed on the chest in the gesture of humility inclines its noble face before the heavenly messenger. There is no reason to assume the creator of the Virgin Mary is anybody else but the sculptor who created the high-quality statues of St. John and St. Matthew. Owing to the fact only the north part of the façade, the Annunciation group, remained incomplete until the next, that is the final phase of reconstruction.16 Interesting was also the initial placement of the

Matěj Václav Jäckel Statue of the flying angel – altar of St. Francis Seraphicus in the chapel of the same name 1718

Matěj Václav Jäckel Coronation of the Virgin sculpture group at the extension of the altar of St. Anthony of Padua in the chapel of the same name 1715

Matěj Václav Jäckel Our Lady of Assumption sculpture group at the extension of the altar of St. Francis Seraphicus in the chapel of the same name 1718

sculptures on the architecture. Recent discovery of the massive attic wall, hidden today in the timber roof truss of the frontal building, suggested that it is necessary to re-evaluate the original placement of the sculptures in the first two decades of the 18th century, prior to the construction of the Dientzenhofer’s front façade.17 It appears likely that the sculptures were situated exactly on the very top of this wall, facing the courtyard, toward the spiritual centre of the place - Santa Casa.

Matěj Václav Jäckel Statues of angels in the niches of the Chapel of St. Francis 1718

I WORK FOR LORETO A word from the restorer

Petr Váňa

An exhibition is being prepared, to which I am expected to contribute something that is not visible. An exhibition on the Prague Loreto. On its history, architecture, sculpture decoration as well as restoration and renovation of this beautiful Baroque historic building. I had been working for Loreto for a long time. As a sculptor, a restorer. As a friend of the Capuchins. As an admirer of Baroque art. As a religious person. Where, however, can it be seen? What can be exhibited? And should it actually be possible to see it? What is the significance of restoration? The restorer, if he is good and is worthy of being called a restorer, should work so that his work is not immediately perceptible. The restorer should understand the intention, vision of the original artist and should renew and support this vision. The original artist is no longer alive and time works against his art. The mass of stone, stucco and paints give in to weathering and disintegration of structure of the material. If a work of art is valuable for it communicates and for its beauty, the future generations do not let it fall apart and begin to restore it. And this is what the restorer should do – to help the original artist in preserving his art for longer, in its expression and beauty. It is a different work than a duty of an architect and sculptor. They come in order to add something to the work or in order to change it. For successful restoration, it is therefore necessary to understand the original idea, intention and feeling encoded in the statues and in the architecture. What is this artistic code of the Prague Loreto? Loreto has been built as a place of the Virgin Mary worship. It tells her story and it is also a symbolic representation of the secret of life of the Virgin Mary. Its centre is a hidden place. The house where the Virgin Mary lived has its secret. There is an atrium surrounding the hidden place. The hidden place is protected

by a high building with a square ground plan. The three-dimensionality of the outer façade is like the sea. Like waves. From the small putti statues to the large sculpture groups on the attic. All whisper Marian secrets and tell a story that concerns us. The waves speak and sing and that is why the carillon with the Marian song is above this place.

Mounting of the copy of the Resurrection of Christ sculpture group at the Prague Loreto courtyard

The first “wave” of the story is small, like pebbles on a shore. It consists of two small putti on the balustrade. They carry Marian secrets in the reliefs carved in their cartouches. The second “wave” are the saints who worshipped the Virgin Mary at the front façade. At the very top, where the surface touches the sky, is the story of Annunciation, two statues representing the moment when the Angel, the Heavenly Messenger, is approaching the woman Mary. You can enter this symbolic event centrally, through the main portal and get to the two most significant points of the whole message at the centre of the courtyard of Loreto. The two largest statues represent the ascent to Heaven. The sculpture group of the Resurrection of Christ and the Assumption of the Virgin Mary.

2004

Initially I worked for Loreto together with Tomáš Váňa, Hynek Schejbal on the copy of the Christ sculpture group. The works went on from 1998 to 2004.

106

LAURUS NASARETHANA – EMBLEMATIC CONCEPT OF CEREMONIAL DECORATION OF THE PRAGUE LORETO FRONT FAÇADE Several notes on the development of the one hundredth anniversary of the foundation in 1726

Markéta Baštová

Soon after completion of the new front façade of the Prague Loreto by Kilian Ignaz Dienzenhofer, at the time when the relatively complicated architectonic conception of the forecourt with sculpture decoration was newly finalised, centenary of the Prague Santa Casa foundation was approaching. The Loreto chapel foundation stone had been laid as early as 3rd June 16261, nevertheless, the date of the beginning of the jubilee festivities was set by the Capuchin order superiors, “for one hundred years its loyal custodians”, for the sixth Sunday after Pentecost, that is on 21st July 1726 and the following octave. Therefore, taking place for the whole eight days were the festivities, part of which were processions, solemn masses and sermons in several languages, carefully prepared sophisticated decoration of the just completed front façade of Loreto, its ceremonial “illuminations” and “pious theatre”2 as well as numerous high standard musical performances. Relatively detailed information about the preparation and progress of the festivities is to be found in an extensive text of the Capuchin annals3 and the Hradschin convent chronicle4. Surviving in addition to these handwritten chronological records are also several prints that help us to understand what was taking place around the Prague Loreto during these remarkable eight days. The jubilee festivities of the centenary of Loreto foundation were undoubtedly one of these magnificent baroque religious events that combined in themselves an entire system of artistic genres in a compact whole that moreover simultaneously communicated on many social levels – from the sophisticated emblematic arrangements, often based on Classical mythology and history, which were comprehensible only very limited elite circles – aristocrats and educated clerics, to impressive visual designs, fireworks and firing cannon salutes from the city walls that resulted in “an immense gathering of common people who assembled here with great amazement”5 during the entire octave. The objective of this essay is not to cover all aspects of these festivities in an exhaustive manner, it is, rather, expected to serve as an invitation to create

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a broader interdisciplinary dialogue about this multi-layered “Gesamtkunstwerk”. As suggested by the handwritten accounts, the preparations of the festivities started in the Hradschin convent towards the beginning of the calendar year.6 The Papal brief issued by the Pope Benedict XIII that the order superiors requested, granted, for the octave of the festivities, official indulgencies.7 No less important part of the preparations was the permission of the archiepiscopate for staging of two public processions on the first and the last day of the festivities – the application was made by the Loreto sexton, Father Otto of Sviny8 and it was granted. Subsequently, in June, the Hradschin convent Guardian, Father Ludvík Antonín of Jihlava9 asked the Loreto patron Philipp Hyacinth of Lobkowicz for financial support for staging the festivities and, according to the annals, this request, too, was, after repeatedly sent dunning letters, finally granted10. It is possible that the financial resources of the Prince also partially covered the ceremonial decoration of the front façade and other costs related to the preparation of the festivities although this is not directly mentioned in the annals. Part of the preparations was the construction of the triumphal gate, the suitable basis of which was the recently finished front façade, the design and creation of four constructions – pegmata that were carried in the procession. Negotiations about the musicians were taking place as well as about “the author of the concept who would render this kind of celebration symbolically as a performance”, his name, regretfully, is not mentioned in any of the extant sources. On the question of finances the annalist remarks laconically: “And when, controlling everything, the money spoke, there were immediately more or less seventy musical virtuosi present and getting their job. Four constructions were reaching for the sky and the triumphal gate was extending out proudly.”11 Hinting at the generous financial support of the festivities an their great social prestige is, besides other things, the participation of musical virtuosi of Count Václav Morzin12 whose close relationship to Loreto is substantiated by minor local funding.13 It also may be assumed that Morozin and the Loreto patron Philipp Hyacinth of Lobkowicz, who was an active musician and composer himself,14 were on friendly terms. Let us now examine more closely the development of the festivities as described by the order manuscripts: in the morning on Sunday 21st July the Hradschin convent friars descended in a procession with a cross to the New Town Capuchin convent at St. Joseph. There, the local community joined them at half past seven and the famous procession officially started, heading for the Old Town of Prague, Stone Bridge and up to Hradschin and Loreto. The procession was led by Father Karel Dominik Řečický, the Dean of the chapter of the Metropolitan Catherdal of St. Vitus. At the head and at the tail of the procession were trumpeters and drummers, music accompanying the procession all the way.

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Laurus Nasarethana title sheet Vetero Pragae Typis Joachimi Francisci Kameniczky 1726

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Four ceremonial constructions, the so-called pegmata, were carried in the procession and even though their appearance is not mentioned in the handwritten sources, it is known from the occasional Laurus Nasarethana print.15 It is interesting that pegmata, unlike the triumphal arch itself, accentuated the motif of the Prague Tri-City – Prague as a place the importance and renown of which is, for one hundred years, emphasised and multiplied by the presence of the “Holy House of Loreto”. In addition to traditional appearance of the copy of venerated statue,16 the worship of the Virgin Mary of Loreto in fact also introduces a specific vera effigies character of the entire architecture17 – Loreto as a dwelling place of the Virgin Mary, as a place of the miracle of the Incarnation. If the object of worship is a house, than its accentuation within city offers numerous interesting parallels that the symbolic depictions of individual pegmata exploited with utmost mastery. The first pegma with the figure of the Archangel Gabriel kneeling on the terrestrial sphere reflected the miraculous transferral of the Holy House from Nazareth to Dalmatia and then to Loreto. The number of depictions of the Holy House scattered across the globe suggested the universality of worship of the Virgin Mary of Loreto. The Archangel Gabriel at the top was pointing to the following inscription: “Par Domus haec Urbi (Jam totum impleverat Orbem) / Par Domus haec Orbi est. Hanc venerare Triurbs”18 The second pegma with allegorical figures of the genii of the four towns of Prague, signified by coats of arms reflected the topography of the Prague Loreto, thanks to which, figuratively speaking, the Virgin Mary and Jesus, formerly the inhabitants “… of Nazareth and subsequently of Loreto…”, also become “…the inhabitants of Prague.”19 The allegories were carried around the Tri-City Throne, worshipping this holy place and the animated pegma was furnished with the following inscription: “Felix, quam Domus haec, tam nobilis, incolit Urbem! / Incolit hanc Virgo Mater, et Ipse DEUS.”20 The third pegma was dominated by the Hradschin hill with a laurel tree as a symbol of the Virgin Mary – the Queen of Loreto. The symbolic meaning of laurel (laurus nobilis), connecting the Classical tradition, Marian iconography and the legendary background of the Loreto cult pervades, as the leitmotive, the entire concept of the centenary celebrations, as will be explained later. Moreover, the pegma highlighted the founding and patronal role of the Lobkowiczes: the Genius of the Lobkowicz family, adorned with laurel, is ready to help and as a good gardener he tends the planted laurel tree. The fourth and the last pegma offered to public worship the Hradschin statue of the Virgin Mary of Loreto itsels – the statue was carried under a canopy, surrounded by figures of angels and Marian worshippers. The pegma also included “the conversation” between the Virgin Mary, angels and people, written in verses with chronograms.21

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The annalist describes the progress of the procession as follows: “When the Prague bridge was reached, twelve cannons fired on the lower island. In the middle of the bridge, when the Most Reverend Mr Dean and the others stopped, the twelve cannons fired again. And, for the third time, when the foot of the bridge was reached in direction of the Lesser Town. Around ten o’clock, when all this took place, we arrived at the Holy House of Loreto, and when the construction [pegma] could be seen, twelve mortars on the city walls fired and, for the second time, when the Most Reverend Mr Dean in pontificals was entering the Most Holy House of Loreto, the trumpets and drums resounded in the

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P. Don Martinus Hanl Das herzlich beehrte Jubel - Jahr title sheet Prag Gedruckt bey Carl Johann Hraba 1726

The Prague Loreto centenary triumphal arch, detail of the main portal.

Virgin decorated with laurel, in his canon greetings, also described her as laurel.”58 However, before we will selectively focus on individual emblems, it will be useful to concentrate more carefully on the central part of the triumphal arch. Delsenbach’s copper engraving clearly indicates that construction with two columns elevating the obelisks at their upper part was added beside the main portal, on the central axis of the front façade. A part of what was most likely a wood construction, were living plants, probably ornamental woody plants

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cut into required shapes. Large vegetative festoons were also hung on all fourteen pilasters of the front façade between the images in the windows. Two statues were placed (probably hung)59 between the free-standing columns of the construction and jambs of the portal: on heraldic right hand side the flying Archangel Gabriel as “the ancient protector or carer of the Loreto buildings”. His right hand outstretched, he is pointing to the chronogrammatic inscription in the cartouche at the centre over the main portal: “LaVrVs nasarethana / ante annos CentVM / In

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The Prague Loreto centenary triumphal arch, detail of the panelling of stucco cartouche on the gable of the front façade main tower

The Prague Loreto centenary triumphal arch, details of the 3rd, 23rd, 43rd and 12th invocation

septa / VIrIDarII praesentIs / transpLantata.”60 Its counterpart piece was an allegorical figure of “the herald inviting to a prayer” whose shield bore an appeal to the Tri-City of Prague: “aDes, praga! / LaVreto tVo / seCVLVM peragItVr.”61 Above the main portal, there was, during the time of the celebration, a newly completed and installed marble alliance coat of arms of Philipp Hyacinth, Count of Lobkowicz and his second wife, Wilhelmina, née Countess of Althann. The print states that two inscriptions playing with two initials of names Loreto and Lobkowicz62 accompanied the coat of arms. The balcony balustrade on the axis of the front façade was covered with floral decoration. Placed on the sides of the central inscription were oval cartouches with half-length figures of the “grand princes - under whose reign this celebration was taking place”: Pope Benedict XIII and Charles VI, the Holy Roman Emperor and the King of Bohemia. Above the Pope’s portrait was an inscription that read: “HOC SEDENTE”, above the Emperor’s portrait, “HOC IMPERANTE”, and still more inscriptions below the portraits. The door to the balcony was covered by a painting representing, on the left hand side, a laurel tree, into the trunk of which, an allegorical figure of Chronos, here called Saturn, carves the capital letter C – that is the time counting the first century of the Prague Loreto. The print further describes the central image as follows: “Under the laurel tree, Phoenix, marked with number one, was burning in his fire. Kneeling beside the fire, was the Genius of the Seraphic Order, a Seraph, burning, as a thanksgiving or the Eucharistic burnt offering, one hundred hearts as a hecatomb for the completed one hundred years, accepted from above by the visible Eye of Providence.”63 The flying putto in the upper part of the painting is holding onto the Virgil’s verse:”O MIHI SINT LINGUAE CENTUM, SINT CORDAQUE CENTUM!”.64 The same was also explained by the Anacreontic song carved into a stone or altar under the fire of the said Phoenix: “TOT VICTIMAE, QUOT ANNI”.65 Defined by the stucco frame, the surface in the middle of the central gable of the Loreto front façade, was decorated by a temporary painting representing

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the legendary transferral of Santa Casa from Nazareth by angels assisted by the kneeling figure of St. Francis and other (in all probability beatified) Capuchin.66 Let us, however, go back to the Loreto litany the invocations of which were, in the form of painted emblems, inserted into the windows: “Windows of the front façade were covered and decorated by exactly the same number of symbols, in a manner so as to represent all according to nature and under the symbol of laurel and so that the various attributes, virtues, qualities, histories and tales of this tree would, in an appropriate poetic manner, conform to holy praise of the Virgin Mary that the Church attributes to her in the so-called Loreto litanies. In order to intensify the splendour of this celebration, all these litanies for our worshipped Virgin radiated in their symbols. Not only those of Loreto, as well as decorated by laurel and – so to speak – all laurelled [that is victorious]. For their invigoration, all individual symbols were accompanied by a motto (lemma) and for their explanation, an inscription.”67 The author of the text therefore very appositely characterises the conception that recognises the use of emblems as an artistic genre on the verge of visual arts, literature and here, in all probability, also theatre.68 The emblematic approach to the Loreto litany is not isolated in Baroque literature.69 Nevertheless, the Prague engraving depicts an exceptional set of emblems projected into which is the specific “Loreto” motif of laurel. To what extent is this set unique and how much it was inspired by the period sets of emblems, is hard to judge. This essay will therefore hopefully be a challenge to other, more erudite researchers in the field of study of emblems. It is, nevertheless, very interesting to observe how the classical tradition and the Christian dogmatic theology blend into each other in the individual symbols. Ancient mythological themes, metaphors and symbols are transformed into the form of the Christian model,70 in a very carefully considered and sophisticated manner, with an inexhaustible range of direct quotations. To discuss the interpretation of all forty four emblems of the Loreto litany would by far exceed the scope of this essay and I therefore limit myself to several most interesting ones. As it was mentioned earlier, the principal motif of all is laurus,71 a fact that naturally leads one to the mythological figures of Apollo and Daphne that appear several times in the emblems in various contexts.72 Daphne, the daughter of the rivergod Peneus, a nymph, who is trying to escape Apollo in order to preserve her purity and changes into a laurel tree, appears here as a prefiguration of the Virgin Mary. The image of the third invocation, Sancta Virgo Virginum (Holy Virgin of virgins) shows this very change of a virgin into a tree. Lemma of the emblem reads as follows: “NE NUBERET ISTA, FIT ARBOR”,73 while the added inscription says: “Virgo par Lauro, Virgo Innuba, et Innuba Laurus. Virginea haec Laurus, Laurea Virgo fuit.”74 The author further presents a quote from Ovid’s Metamorphoses “Hates and does not know men”75 which he interprets in the context of the Gospel According

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KATALOG / CATALOGUE

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Prague, 1682 copper engraving on paper 153 x 75 mm together with other copper engravings pasted into the manuscript The Capuchin Order archive dep. NA, rkp. 69 „Verzeichnusz desz jenigen Geldts“

Prague, 1685 architect Johann Georg Mayer manuscript in pen and ink on paper 440 x 306 mm The Capuchin Order archive dep. NA, kart. 383, inv. č. 409, fol. 82-83

THE OLDEST KNOWN VIEW OF THE PRAGUE LORETO WITH THE VIRGIN MARY OF LORETO

By happy coincidence, this print with the earliest known view of the Prague Loreto to date, pasted into the accounting book, was discovered by Petr Svojanovský in 2000. The copper engraving, together with the dendrochronological exploration, were among the main bases for the making of the first architectonic models of Loreto showing the situation of the site in 1664. BIBLIOGRAPHY: Svojanovský 2001, p. 162. Bašta – Baštová – Cvachová 2015, p. 33. Bašta – Baštová 2016, p. 21, note 44.

DESIGN OF THE SOUTH-WEST CORNER OF THE LORETO CLOISTER WITH GROUND PLAN OF THE SOUTH PART OF THE FRONTAL BUILDING The design came into existence in connection with legal dispute that arose during the planning and realisation of the construction of the first corner chapel of the cloister - the Chapel of Our Lady of Sorrows. It shows the situation before the construction of the chapel, with a sketch of its south wall that became a subject of dispute with the owner of the neighbouring house, Vavřinec Tomassoni. BIBLIOGRAPHY: Diviš 1972, pp. 22-23, figs. 6 and 10. Vilímková 1974, pp. 23-24. Bašta – Baštová 2016, p. 21, note 45.

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Prague, around 1716 architect Christoph Dientzenhofer pen and ink and watercolour on paper 188 x 288 mm (exhibited is facsimile) The Capuchin Order archive dep. NA, kart. 460 inv. č. M55, fol. 82

see also fig. on p. 87

ICONOGRAPHIC PROGRAMME OF THE RELIEFS ON CARTOUCHES, PUTTI ON THE LORETO BALUSTRADE The sheet listing the Marian mysteries may, in all probability, be attributed to the creator of the sculptures, Filip Ondřej Quitainer who created 24 drawings depicting Marian scenes and set them within circles of 23 – 25 mm diameter, made with compass. 14 circles remained empty. The rest of the sheet is filled, on both sides, with iconographic themes that were to be represented in the cartouches of the putti – genii. The exact purpose of this archival material is not quite clear. It could have been an appendix to a contract with the sculptor, or merely a concept - sketch offering the initial idea of the sculptor that is corroborated by the incomplete number of sketched ideas in the circles. BIBLIOGRAPHY: Vilímková 1974, pp. 41-42. Kaše 1986, p. 208, fig. 2 (incl. the translation).

15a Prague, 1773-82 engraved by Johann Georg Balzer copper engraving on paper 183 x 122 mm Loreto Prague inv. no. Lor-560

Prague, 1726 engraved after drawing of J. J. Dietzler by L. A. Delsenbach copper engraving on paper 475 x 615 mm (exhibited is facsimile) Lobkowicz Collections inv. no. LR 9917/290

Fig. see also the inside of the front cover, pp. 106, 114, 116-122

PORTRAIT OF ARCHITECT KILIAN IGNAZ DIENTZENHOFER 56th sheet from the cycle of portraits of Bohemian and Moravian scholars and artists: „Abbildungen böhm. und mähr. Gelehrten und Künstler“

CEREMONIAL DECORATION OF THE LORETO FAÇADE ON THE OCCASION OF 100TH ANNIVERSARY OF ITS FOUNDATION

The engraving shows the newly finished front façade, into the windows of which are placed paintings with symbolic scenes illustrating individual invocations of the Loreto litany. The period record states: „The windows of the front façade were filled out and decorated with exactly so many [44] emblems, in a way so as to represent everything naturally and in the form of laurel, and to adapt, in a suitable poetic manner, various attributes, virtues, powers, histories and narrations of this tree to holy praise of [the invocations of] the Virgin Mary“. The litany was accompanied by painted coats of arms of all relevant donors, placed in the socle zone. Situated in heraldically the most significant place is the alliance coat of arms of Count Philip Hyacinth of Lobkowicz and his second wife, Countess Anna Wilhelmina Althann. One of the coats of arms, the one of the Lobkowicz-Tilly, survived to this day (cat. no. 33).

BIBLIOGRAPHY: Sternberg-Manderchield 1913, p. 9. Hlavsa 1975, p. 50, no. 103. Vilímková 1974, pp. 61-62. Kaše 1986, p. 209, fig. 3. Míka 1989. Blažková – Baďurová 2008, p. 106, no. 257. Bašta – Baštová – Cvachová 2015, p. 34, fig. on the cover. Šimůnek 2016, pp. 281-82. Lukas – Přikrylová 2017, no. 147.

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LORETO SQUARE VIEW OF THE PRAGUE LORETO

Augsburg, before 1750 engraved after drawing of F. B. Wernera by E. Schaffhauser copper engraving on paper 235 x 390 mm (exhibited is facsimile) The City of Prague Museum, inv. no. H 061.688

The 6th sheet of the first album of Werner’s views of Prague, Delineatio et Repraesentatio notabilissimorum Prospectuum Pragae, focusing on Hradschin and the Lesser Quarter of Prague. The album was published by M. Engelbrecht in Augsburg. Besides the cathedral and the Strahov convent, the view of Loreto is one of the few views of a sacred buildings, as Werner’s vedutas more frequently included secular buildings, especially aristocratic palaces. Werner manages to maintain relatively skilfully the overall proportions of the building, except for the socle that is disproportionately large. In the balustrade solution he records the sloping on the north side as well as the stairwell on the south side, it is, however, disproportionate in relation to the front façade (the missing transverse part of the balustrade on the north side should have the foot on the inner outline of the corner Chapel of Our Lady of Sorrows). The sculpture decoration is represented only very briefly and its details often do not correspond with reality.

fig. see also p. 4

BIBLIOGRAPHY: Kaše 1986, p. 210, fig. 4 (detail). Marsch 2010, pp. 268–294. Chodějovská 2014, p. 261, tab. p. 275. Lukas – Přikrylová 2017, no. 85.

CZERNIN PALACE AND LORETO SQUARE

Prague, between 1792-1796 engraved after drawing of Filip and František Heger by Kašpar Pluth copper engraving on paper, coloured with watercolours 460 x 620 mm (exhibited is facsimile) The City of Prague Museum, inv. č. H 061.906

The print is the 22nd sheet of the Prague vedutas series, the work of Filip Heger and his son František Antonín Jindřich. The album was dedicated to František Václav, the Count of Steinbach, the Highest Burgrave and president of the governorate of the Kingdom of Bohemia whose coat of arms is in the centre of the lower inscription part. As for Loreto, what is significantly larger, is especially the clock tower. Completely left out from the division of the front façade are two lateral portals. The sculpture decoration is, again, represented very inaccurately, Kaše notices the replacement of some of the putti statues on the balustrade with vases.

fig. see also p. 12

BIBLIOGRAPHY: Wirth 1934, no. 81. Hlavsa 1968, no. 82. Kaše 1986, p. 210, fig. 5 (detail). Přikrylová 2013, nos. 770, 771. Chodějovská 2014, p. 247, tab. p. 276. Lukas – Přikrylová 2017, no. 293.

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Prague, 1815 A. Gustav etching coloured with watercolours 110 x 165 mm (exhibited is facsimile) The City of Prague Museum inv. no. H 001.009

LORETO SQUARE VIEW FROM THE CAPUCHIN CONVENT The sheet comes from the “Album von Prag” set published by the Franz Zimmer et Sohn workshop in Prague in 1815. It offers an infrequent view of the Loreto Square from “from below”, from the Capuchin convent. The building of Loreto is depicted correctly when it comes to proportions, although very briefly in details, moreover, the front façade does not fit onto the pictorial surface in its entirety. Interesting is especially the view of the difficult situation below the Czernin Place in direction of Loreto as well as the convent.

BIBLIOGRAPHY: Diviš 1972, fig. 12. Vilímková 1974, p. 62.

CZERNIN PALACE AND LORETO SQUARE

Prague, 1830 Vincenc Morstadt pen drawing washed with India ink 258 x 376 mm (exhibited is facsimile) The City of Prague Museum inv. no. H 132.806

High quality washed pen and ink drawing by V. Morstadt that was undoubtedly made as a model for a print, represents a traditional view of Loreto from the Czernin Palace. In the overall arrangement of architectonic volumes, it is one of the best period depictions of the Loreto site, including a part of the gable and the roofs of the church, the rear towers and the cloister. Worth mentioning are also two triads of full-grown poplar trees in front of the main façade. Similarly to other vedutas, here, too, however, the details of the front façade are reproduced inaccurately, with numerous distortions; lateral portals were somehow “omitted” from the drawing again, Morstadt even left out the balcony above the main entrance and replaced the door to the balcony with a window. Lorenc – Tříska 1980 published another Morstadt’s drawing (in pencil), much less detailed, that could be the original sketch for this elaborately executed washed drawing.

fig. see also the inside of the back cover and p. 10

BIBLIOGRAPHY: Lorenc – Tříska 1980, p. 140, fig. 117. Kaše 1986, p. 210, note 16, fig. 6 (detail). Pasáková 1987, no. 541 (with fig.).

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25 Prague, after 1725 Filip Ondřej Quitainer so-called Petřín sandstone height 113 cm restored by Petr and Tomáš Váňa in 2016 Loreto Prague inv. no. Lor-561

PAIR OF PUTTI WITHOUT CARTOUCHES - TORSO The extant pair of putti in which both the cartouches are missing, originally carried the iconographical themes of the Immaculate Conception and the symbol of mirror reflecting the Divine love represented as heart in the symbol of triangle (comp. cat. no. 6). The pair with attributes broken off identifies the copy carved in stone and used on the balustrade today made by M. Vajchr in 1959 (position no. 8, fig. p. 102). It may be assumed that, at the time of its creation, the original still had one cartouche with the Marian iconography discernible.

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26 Prague, after 1725 Filip Ondřej Quitainer so-called Petřín sandstone height 115 cm restored by Petr and Tomáš Váňa in 2016 Loreto Prague inv. no. Lor-562

PUTTI WITH CARTOUCHE WITH RELIEF OF ASSUMPTION OF THE VIRGIN MARY The cartouche is decorated with the popular Marian motif of the Assumption of the Virgin Mary, that is the Virgin Mary taken to heaven surrounded with angels, in the case of this stone relief, the winged figures of angels. It is remarkable that this theme is missing in the sketched representation. Only the image of the Immaculate Conception is present in the design, which, however did not survive in the original Quitainer‘s realisation (comp. cat. no. 25). Three cast-stone copies placed today on the Loreto balustrade were made after this extant original (they occupy the position nos. 15, 18 and 20; fig. p. 102)

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27 Prague, after 1725 Filip Ondřej Quitainer so-called Petřín sandstone height 110 cm restored by Petr and Tomáš Váňa in 2016 Loreto Prague inv. no. Lor-563

PUTTI WITH CARTOUCHE WITH RELIEF OF OUR LADY OF THE ROSARY This relief is different to the others not only because of the irregular format of nearly triangular cartouche, but, above all, because of the theme of the Virgin Mary and the kneeling St. Dominic receiving a rosary, which is not present in the design sheet (cat. no. 6). Three cast-stone copies placed today on the Loreto balustrade were made after this extant original (they occupy the position nos. 17, 19 a 22 fig. p. 102).

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SOURCES

Alciati 1577 ALCIATI Andrea, Emblemata, Antverpiae 1577. Dostupné on-line z: http://www. uni-mannheim.de/mateo/itali/autoren/alciati_itali.html (citováno dne 24. 4. 2017). Abraham a Sancta Clara 1680 ABRAHAM a Sancta Clara, Stella ex Jacob orta Maria, Viennae 1680. Dostupné on-line z: http://reader.digitale-sammlungen.de/de/fs1/object/display/ bsb11347799_00007.html (citováno dne 24. 4. 2017)

Bilinensis 1700 BILINENSIS P. Josephus, Capuciner, Lauretanischer Blumen-Garten. Das ist: Außerwöhlte Gebetter wie man die ohne Makel empfangene und von dem heiligen Erz-Engel Gabriel bennente Mutter Gottes Mariam. Prag 1700. Kapucínská provinční knihovna (dále jen KPK), sign. 01 C 045. Bilinensis 1703 BILINENSIS P. Josephus, Capuciner, Sonderliche Verehrung und Andachten zu der seeligsten Lauretanischen Jungfrauen Mariae, Dero Liebstens Gesponß Josephi, des h. Seraphischen Vatters Francisci, Antonii von Padua, des seeligen Felicis, deren hl. Anna, Wilgefortis oder Kummernuß, Agathae, Barbarae, Lidvinae, und Viertzehn Noththelffern. Gezogen auß dem Lauretanischen Blumen – Garten, Prag 1703. KPK sign. 05 F 082.

Catalogus patrum CATALOGUS PATRUM, & FRATRUM CAPUCINORUM Provinciae Boemiae ab Origine ejusdem secundum seriem Annorum, Mensium, & Dierum in ea Indutorum, & Professorum Anno 1772 do compilatus, arch. fond Řád kapucínů, dep. v NA Praha, rkp. č. 37. von Cochem 1694 COCHEM P. Martin von, Capuciner, Prager Laureten--Büchlein. Darin neben einer Ausführlichen Beschreibung der heiligen Lauretanischen Capellen und deß Creuzgangs bey denen Capuzinern auff dem Hradschin. Andächtige Gebähter In der heiligen Laureta und vor allen Kapellen und Altärlein in dem Kreuzgang zu sprechen enthalten seynd. Zur Beförderung der Ehr Mariä und ihrer lieben LoretaCapellen beschreiben durch P. Martin von Cochem Capuciner Ordens. Prag 1694. KPK sign. 07 E 071.

Ein kurzer Bericht 1670 EIN KURZER BERICHT von der Kapell Loreth genant bei denen PP. Kapuzinern zu Prag auf dem Hradschin, Prag 1670. ŘK kart. 257, i.č.100, fol.69r-77v. Gumppenberg 1672 GUMPPENBERG Wilhelm, Atlas Marianus quo Sanctae Dei Genitricis Mariae Imaginum Miraculosarum Origines Duodecim Historiarum Centuriis explicantur, Monachii 1672. KPK sign. SPr. 06294. Hammerschmid, 1723 HAMMERSCHMID Johann Florian, Prodromus Gloriae Pragenae, Prag 1723, s. 414.

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Hanl 1726 Don Martin Hanl [Hönel] Das herrlich beehrte Jubel - Jahr, von Erbauung des Lauretanischen Gnaden - Hauß, in der Königlichen Residentz - Stadt Prag, auf den Rhatschin ab Ao. 1626, gedruckt bey Carl Johann Hraba, Prag 1726. KPK sign. SPr01353h.

Index Rkp. 412 INDEX rerum totius archivi P. P. Capucinorum Provinciae Boemiae. KPK sign. Rkp 412. Kostelní účet 1737 SPECIFICATION DEM AUSGAABEN LAUTS QUITTUNGEN, ŘK kart. 383, i.č. 409, fol.29r, 29v.

Laurus Nasarethana 1726 LAURUS NASARETHANA, in Lauretum Hradczanense Inclytae Lobkowiczianae Domus Munifica Pietate Ante Annos Centum Transplantata, Subinde Primo Exacto Seculo, ... Per Octiduum Totum Eucharisticos Inter Plausus Symbolice Expressa, in Pium Spectaculum, Vetero-Pragae: Joach. Kameniczky, 1726. MZK Brno, sign. ST30490.345. Dostupné on-line z: https://books.google.cz/books?id=KMdfAAAAcA AJ&printsec=frontcover&hl=cs#v=onepage&q&f=false (citováno dne 24. 4. 2017). Liber Decimus Rkp 399 LIBER DECIMUS rerum Memorabilium Provionciae Boëmiae, Moraviae, et Silesiae, post illius divisionem a Provincia Austriae Liber 5. 1690 - 1694. KPK sign. Rkp 399.

Liber Decimus Cursus Rkp 410 LIBER DECIMUS Cursus et Saeculi IIdi Annalium Provinciae Boemiae, et Moraviae. 1766 - 1771. KPK sign. Rkp 410. Liber Duodecimus Rkp 400 LIBER DUODECIMUS rerum Memorabilium Provinciae Boemiae, Moraviae, et Silesiae, post illius divisionem a Provincia Austriae Liber VII. 1699 - 1700. KPK sign. Rkp. 400/II.

Liber Nonus Rkp 398 LIBER NONUS rerum Memorabilium Provinciae Boemiae, Moraviae, et Silesiae, post illius divisionem a Provincia Austriae Liber 4. 1686 - 1689. KPK sign. Rkp. 398. Liber Nonus Cursus Rkp 409 LIBER NONUS CURSUS, et Saeculi IIdi Annalium Provinciae Boëmiae, Moraviae, et Silesiae. 1751 - 1765. KPK sign. Rkp. 409.

Liber Octavus Rkp 397 LIBER OCTAVUS rerum Memorabilium Provinciae Boemiae, Moraviae, et Silesiae, post illius divisionem a Provinciae Austriae Liber 3. 1683 - 1685. KPK sign. Rkp. 397. Liber Octavus Cursus Rkp 408 LIBER OCTAVUS CURSUS et Saeculi III.di Annalium Provinciae Bohemiae, Moraviae et Silesiae. 1743 - 1750. KPK sign. Rkp. 408.

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Liber Primus Cursus Rkp 401 LIBER PRIMUS CURSUS et Saeculi IIndi Annalium Provinciae Boemiae, Moraviae, et Silesiae. 1701 - 1705. KPK sign. Rkp. 401. Liber Quartus Rkp 393 LIBER QUARTUS rerum Memorabilium Provinciae Boemiae, Austriae, Moraviae, et Silesiae. 1658 - 1665. KPK sign. Rkp. 393

Liber Quartus Cursus Rkp 404 LIBER QUARTUS CURSUS et Saeculi II. Annalium Bohemiae, Moraviae, et Silesiae. 1716 - 1720. Sign. KPK sign. Rkp 404.

Liber Quintus Rkp 394 LIBER QUINTUS rerum Memorabilium Provinciae Boemiae, Austriae, Moraviae, et Silesiae. 1666 - 1673. KPK sign. Rkp. 394 Liber Quintus et Cursus Rkp 405 LIBER QUINTUS ET CURSUS, et Saecli IIdi Analium Provinciae Boemiae, Moraviae, Silesiae. 1721 - 1725. KPK sign. Rkp. 405 Liber Secundus Rkp 391 LIBER SECUNDUS Rerum memorabilium et Moraviae. 1639 - 1651. KPK sign. Rkp 391.

Provinciae

Boemiae,

Austriae,

Liber Secundus Cursus Rkp 402 LIBER SECUNDUS CURSUS et saeclillndi Analium Provin. Boëm. et Mor. Silesia. 1706 - 1710. KPK sign. Rkp 402. Liber Septimus Cursus Rkp 396 LIBER SEPTIMUS rerum Memorabilium Provinciae Boëmiae, Moraviae, et Silesiae, post illius divisionem a Provinciae Austriae Liber 2. 1679 - 1682. KPK sign. Rkp. 396. Liber Septimus Cursus Rkp 407 LIBER SEPTIMUS Cursus et Saecfuli IIdi Annalium Provinciae Bohemiae, Moraviae et Silesiae. 1735 - 1742. KPK sign. Rkp. 407.

Liber seu Protocollum Rkp 390 LIBER SEU PROTOCOLLUM Totius Provinciae Boemo -Austriacae Styriacae Ordinis Fratrum Minorum Capucinorum. 1600 - 1638. KPK sign. Rkp. 390 Liber Sextus Rkp 395 LIBER SEXTUS rerum Memorabilium Provinciae Boemiae, Moraviae, et Silesiae post illius divisionem a Provinciae Austria Liber 1. 1673 - 1678. KPK sign. Rkp. 395.

Liber Sextus Crusus Rkp 406 LIBER SEXTUS CURSUS et Saeculi IIdi Annalium Provinciae Bohemiae, Moraviae, et Silesiae. 1726 - 1734. KPK sign. Rkp. 406. Liber Tertius Rkp 392 LIBER TERTIUS rerum Memorabilium Provinciae Boemiae, Austriae, Moraviae, et Silesiae. 1652 - 1657. KPK sign. Rkp. 392.

191

Liber Tertius Cursus Rkp 403 LIBER TERTIUS CURSUS et saecliull Analium Provia Boëmiae, Moraviae, Silesiae. 1711 - 1715. Sign. Rukopisy 403. Liber Undecimus Rkp 400/I LIBER UNDECIMUS rerum Memorabilium Provinciae Boemiae, Moraviae, et Silesiae, post illius divisionem a Provincia Austriae Liber 6. 1695 - 1700. KPK sign. Rkp. 400/I.

Historia Domestica Rkp 543 PROTOCOLLUM, SEU HISTORIA DOMESTICA Conventus Hradschinensis Ad Sctam Mariam Angelorum Ex Annalibus PP. Capucinorum Provinciae Boemiae desumpta. Continens Memorabilia notatu digna, et necessaria Conventum, Boemiae Custodiam, et Provinciam concernentia Ab exordio Provinciae, et Conventus usq. ad Annu 1769 gesta, Pro notitia, et directione R.P. Guardiani Hradschinensis, et Boemiae Custodis Conscriptae Anno 1769-1772, Tom. I., KPK sign. Rkp. 543.

von Sandrart 1698 SANDRART Joachim von, P. Ovidii Nasonis Metamorphosis Oder Sinn-reicher Gedichte von Verwandlungen, T. I. Nürnberg 1698. Ilustrace dostupné on-line z: http://ovid.lib.virginia.edu/sandrart.html (citováno dne 12. 4. 2016).

Sandys 1632 SANDYS George, Ovid’s Metamorphosis, Oxford 1632, Book I. Dostupné on-line z: http://ovid.lib.virginia.edu/sandys/contents.htm (citováno dne 12. 4. 2016). Sartorius 1717 SARTORIUS Augustin, Marianischer Atlas, Prag 1717.

Schaller 1794 SCHALLER Johann, Beschreibung der königl. Haupt-und Residenzstadt Prag I., Die Stadt Hradschin, Prag 1794.

Verzeichnisz desz jenigen Geldts 1654 - 1736 VERZEICHNISZ DESZ JENIGEN GELDTS, so auss Befehl Ihro Gräffl. Gnaden Herrn Herrn Ferdinand Christoph Poppel von Lobkowitz... zu unser Lieben Frauen Loretau ist ausgeben worden, 1654 – 1736, ŘK (NA Praha) Rkp. inv. č. 69, fol. 14v.

Záznam fundačních mší ZÁZNAM VŠECH FUNDAČNÍCH MŠÍ sloužených jednak v našem, jednak v Loretánském kostele, během roku i každodenně, ŘK (NA Praha), kart. 393, i.č. 431. Zencker 1726 ZENCKER Joseph Sigismund, URBS SANCTA CIVITAS ELECTA MAGNAE DEI MATRIS MARIAE DOMUS LAURETANA, Pragae 1726. Dostupné on-line z: https://books. google.cz/books?id=kW5cAAAAcAAJ&printsec=frontcover&hl=cs#v=onepage& q&f=false (citováno dne 24. 4. 2017).

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Vančura 1994 VANČURA Václav, Dílna Matouše Václava Jäckela, in: Umění, časopis ÚDU AVČR, 42, č. 3, 1994, s. 194-210. Vančura 2000 VANČURA Václav, in: Loreta, in: Pražský hrad a Hradčany (Umělecké památky Prahy), VLČEK Pavel (ed.), Praha 2000, s. 304-305. Vančura 2002 VANČURA Václav, Barokní plastika Prahy, CD-ROM, Praha 2002.

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202

NAME INDEX

AGOSTI, Giacomo 63, 91 AICHBAUER, Johann Georg 24, 32 ALLIO, Andrea 14 BALZER, Johann Georg 21, 156 BENEDICT XIII, pope 108, 118 BERINGER, Gerog Samuel 152 BERINGER, Barbara Fraces 123 of BÍLINA, Josef Capuchin 66, 87, 92, 93, 130, 140, 152 of BÍLINA, Martin Capuchin 113, 129 BOGNER, A. 162 BOROMINI, Francesco 22 BRAMANTE, Donato 15 BRÜDERLE, Michal 65, 150 CANEVALLE, Domenico 14 CARLONE, Silvestro the Eld. 14 z COCHEMU, Martin 16, 154 COLOMBA, Giovanni Battista 63, 64 COMETA, Giovanni Bartolomeo 63, 64, 184 CZERNIN of Chudenicz, Marie Josefa countess, née Slavata 130 CZERNIN of Chudenicz, Antonie Josefa countess, née of Kühnburg 130 DELSENBACH, Johann Adam 114, 116, 124, 130, 132, 156 DIENTZENHOFER, Kilian Ignaz 21-25, 28, 31, 32, 34, 69, 91, 107, 113, 139, 140, 156 DIENTZENHOFER, Christoph 18, 19, 22-25, 29, 31, 34, 69, 71, 74, 140, 142, DIETZLER, Jan Josef 114, 115, 130, 156 ENGELBRECHT, Martin 158 FREMY, Claude 18 FRICK, Jan 129 GAYER, Kryštof Karel 113, 198 GEIGER, Ferdinand 92, 202 of GLAUCHAU, Eberhard 18 de GROOS, Gerard 16, 152, 154 GUARINI, Guarino 22 GUMPPENBERG, Wilhelm 133, 189 HAMMERSCHMID, Johann Florian 123, 133 HANL, Don Martin 111, 112, 128, 190 of HARRACH, Ernst Adalbert count 14, 124, 134, 196 HEGER, Filip 158 HEGER, František Antonín Jindřich 158 HERMANN, Marian 112, 129 HLAVA, Melchior 128

HNÁTEK, František 80 HOLAN, Matěj 129 HRABA, Carl Johann 111, 190 HRBEK, Marek 129 CHALUPA, František 166 CHARLES VI, Holy Roman Emperor 82, 118 CHOCHOLA, Václav 184 INNOCENC XII, Pope 82 JÄCKEL, Matěj Václav 67-78, 92, 202 of JIHLAVA, Ludvík Antonín Capuchin 108, 111, 127 of JIHLAVA, Medard Capuchin 58 KAHAJ, Jan 78, 80 KAMENICZKY, Jáchym František 109, 190 KANDLER, Vilém 162 KNOBLOCH, Jan Jiří 58 of KOLOWRAT, Elizabeth Apollonia countess, née of Tilly, widowed of Lobkowicz 63, 134, 154, 184 of KOLOWRAT, Ludmila Eva Františka countess, née Hýzrle of Chodau 65, 130, 134 of KOLOWRAT, Wilhelm Albrecht Krakowský count 63 KOHL, Jeroným 85, 87, 93 KOHL-SEVERA, Jan Bedřich 82, 84-86, 92, 186 of KOMÁROV, Rudolf Capuchin 129 KRÁL, Jiří 33, 34 KUČERA, Karel 174 KUMMET, Christoph 162 LANKYSCH, Josef Václav 129 LIBERTIN, Jan 129 of LOBKOWICZ, Benigna Kateřina countess, neé Lobkowicz 13, 14, 63, 82, 134 of LOBKOWICZ, Kryštof Ferdinand count 184 of LOBKOWICZ, Eleonora Carolina princess, née countess of Lobkowicz 92, 93, 130 of LOBKOWICZ, Filip Hyacinth prince 74, 92, 108, 113, 115, 118, 127, 128, 156 of LOBKOWICZ, Václav Ferdinand count 82 of LOBKOWICZ, Wilhelmina princess, née countess of Althan 118, 134, 156

203

of LOBKOWICZ, Zdeněk Ferdinand prince 80 LÖFFLER, Josef 32, 34 MANNES, Johann Ulrich 87, 88 MAYER, Jan Jiří 17, 138 MAYER, Johann Ulrich 64, 65, 72-74, 81, 82, von MAYERN, Daniel Josef Mayer 112, of MODLIŠKOVICE, Zdeněk Chřepický 128 of MOLART, Arnošt count 134 of MOLART, Markéta countess 134 MORSTADT, Vincenc 160, 162, 164, 166, MORSTADT, A. colonel 166 MORZIN, Václav count 112 NAGYOVÁ, Klára 166 ORSI, Giovanni Baptista 14 OVIDIUS 120, 133 PICHL, Václav 184 PLUTH, Kašpar 158 of POISDORF, Fortunát Capuchin 129 POLTZER, Baltazar 34 of PRAHA, Petr Capuchin 129 PRACHNER, Richard Jiří 71, 92, 146, 150 PREISS, František 65-67, 87, 91 QUITAINER, Filip Ondřej 87-89, 144, 168, 170, 172, 174, 176, 178, 180, 182 QUITAINER, Antonín 93 ŘEČICKÝ, Karel Dominik 108 SANTINI-AICHL, František 34

204

SCHAFFHAUSER, E. 158 SCHEFFLER, Felix Antonín 113, 130 SCHNÜTZER, František Karel 87, 88 SKADOVA, František 112 STREEGER, Pavel Petr 58 a SANCTA CLARA, Abraham 132 of SVINY, Otto Capuchin 108, 127 of STAMPACH, František Václav count 158 of TALMBERG, Bedřich count 134 TAUBER, Celsus 129 TOMASSONI, Vavřinec 138 of TRAUTMANNSDORF, Adam count 128 TRESCHEL, Ignác 142 VAJCHR, Miroslav 168 VOITLÄNDER, František Václav 129 of WALDSASSEN, Kunibert Capuchin 112, 128 of WALDSTEIN, Albrecht count 13 of WALDSTEIN, Mary Margaret countess, née. Czernin von Chudenicz 78 WEISS, František Ignác 71 WEISS, Silvius Leopold 128 WERNER, Friedrich Bernhard 158 WOZILL, Simplicián 128 ZENCKER, Zikmund 123, 124, 134

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