THE PRIDE OF CZECH GOTHIC W
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PRAGUE CASTLE
WHAT IS HIDDEN UNDERGROUND A visit to the St. Vitus’s Cathedral with its exceptionally valuable ornamentation by first-class Czech and world artists is an interesting experience, as is an excursion to its underground. We find the uncovered foundations of two older churches, and also the tomb of Czech kings – Charles IV and his four wives, Wenceslas IV, Ladislav Posthumous, George of Poděbrady and Rodolph II. There are also the remains of Archduchess Marie Amálie of Parma, daughter of empress Marie Therése. Other sovereigns spend their eternal sleep in the royal mausoleum, situated directly above this tomb in the main room of the cathedral. The marble structure dating from 1571–1573 and 1587–1589 was created by the Dutch sculptor Alexander Collin and contains the graves of Ferdinand I, his wife Anna Jagello and their son Maxmilian II. The remains of princes and kings of the Přemyslide family lie in the stone tombs in the gallery chapels, the work of the Parler sculpture workshop. The tomb of Přemysl Ottocar II was made by Peter Parler himself, being not only an exceptional architect but also a sculptor.
BIRD’S-EYE VIEW
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t. Vitus’s Cathedral, the predominant feature of the Prague castle, is the most significant religious monument in the Czech Republic. Its visual aspect was formed by high Gothic style of the 14th century and NeoGothic style of the late 19th century and early 20th century. Its foundation was initiated by King Jan of Luxembourg (Jan Lucemburský), along with the prince royal, Charles IV, who eventually became Czech king and Roman emperor. Its predecessors were two church-
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es of the same dedication – a Pre-Romanesque rotunda, built from 926–930 by Prince Václav, and Prince Spytihněv’s Romanesque basilica dating from 1060–1096. On the occasion of celebrating the Prague bishopric being promoted to archbishopric the construction of a monumental Gothic cathedral commenced in their place according to a design by Mathias of Arras. After his death in 1352 Peter Parler, a young architect from Schwabian Gmünd, continued the work. He
decided not to follow Mathias’s design in the style of Post-Classic French cathedrals, as it was at that time already somewhat outdated. He impressed his own personal architectural style on the cathedral, characterised by new progressive elements, some of which were being used for the first time in Europe. His art continually developed as the construction proceeded, and every section surprises the viewer with creative ideas, radiating with an effort to design everything unconventionally, individualistically, not according to custom. The reticulated vaulting above the cathedral chancel is very impressive. This had been unknown in Czech architecture. It broke the stereotypical rhythm of the vault spans and conceived the space as a continuous unit (photo above). The dynamic vaulting with three arch ribs in the Southern Narthes is also striking. The arch ribs practically lose their original structural function and become primarily an aesthetic element; Parler’s con-
cept being at least one hundred years ahead of its time for European architecture. By the time of his death in 1399 Peter Parler had managed to finish the eastern part of the cathedral, including a garland of chapels and the lower floors of the Great Southern Spire. His sons then continued the work. The Hussite Wars interrupted the construction, and afterwards the western side of the cathedral was temporarily closed. During the following centuries there were several unsuccessful attempts to complete the cathedral. Only after 1865 was the original Gothic section renovated by Josef Kranner, 1873 marking the laying of the foundation stone of the actual triple nave, built according to the design of architect Josef Mocker. After 1899 architect Kamil Hilbert supervised the construction. He also finally completed the cathedral in 1929.
The gallery of St.Vitus’s Cathedral’s Great Spire, almost 100 metres high, offers a beautiful sight of Prague literally from bird’s-eye view. Peter Parler started its construction in 1396, then his sons continued the work until 1406. In 1541 the Spire was damaged by fire, during which the bells broke off and fell through the lower floors and damaged the structure of the whole building. The repairs were carried out by the head of the construction works at the court, Bonifac Wohlmut, who also finished the upper floor with gallery and the Renaissance casque. The largest bell in Bohemia, called Sikmund, is hung here. It was cast by bell founder Petr Jaroš in 1549. The St. Wenceslas Chapel (kaple sv. Václava – photo above left), which is considered to be the heart of the whole cathedral, is adjacent to the ground floor of the Spire. It is located directly above the grave of St. Václav, its walls are decorated with 1345 pieces of polished amethyst and jasper and Gothic wall paintings from the 14th–16th centuries. The entrance to the area below the Spire is from the third courtyard through the Southern Narthes, opened by three arcades with raised lancet arches, above which there is an exceptionally extensive mosaic (95 m2) depicting the Last Judgment. It is called the Golden Gate, and it is a creation of Venetian masters from 1370–1371. Left: colourful stained-glass windows
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