Felix Ivo Leicher und sein Auftrag für das Kloster der Barfüßer-Augustiner in Tábor

The study examines migration of Slovaks to the Czech Lands since 1945 till present days. It focuses on migration waves in post-war decades according to results of population censuses, it also describes the numbers and territorial placement of Slovaks in Czechia and it characterizes their social, demographic and educational structure, as well as their activities and change of legal status after the split of Czechoslovakia in 1993. Slovaks are not original, autochthonous inhabitants of the Czech Lands, but they came there long time before the creation of the first Czechoslovak Republic in 1918. Their migration had mainly social and economic motives. Since the early 1990s qualitative changes in character of migration started to emerge, when social reasons were often replaced by familial ones. After the division of Czechoslovakia political motives appeared as well. In 1945–1992 Slovaks lived in the Czech Lands as members of the second state-forming nation of the Czechoslovak Republic. After the creation of the Czech Republic on January 1, 1993, their legal status changed and they became the most numerous minority starting to create a new identity. Thanks to activities of nationally-committed Slovak intelligentsia Slovaks in the Czech Republic started to reflect the benefits of their status of an ethnic minority in democratic society with guaranteed laws for development of their national life.Key words: Slovaks, migrations, Czech Lands, national minority

The paper deals with the changes in the position of the wife in law of succession (both as an intestate heir and as a person entitled to the forced share) in the Czech lands from the middle of the 18th century to the present day, and also with discussions about the adjustment of her inheritance-legal position in Czech-Austrian jurisprudence at the beginning of the 20th century (during the recodification of ABGB) and in the 1920s (in connection with the interwar recodification). The evolution of law of succession in the Czech-Austrian area and in the European context is characterized by the strengthening of the position of spouses; in the domestic regulation of law of succession as a whole and especially in the intestate succession, we can see a shift from “consanguinity” to consideration of “needs” and “merit”. In the Czech lands, however, there is a different approach in the intestate law, where the position of the wife was gradually strengthened (the turning point was in particular the 1st sub-amendment of the ABGB in 1914, inspired by the German BGB in 1896), and when regarding the forced share, where her position (unlike in Austria) has not yet been improved (despite repeated efforts at the beginning of the 19th century during the finalization of the ABGB, at the beginning of the 20th century during the preparation of the amendment of the ABGB, in the 20s of the 20th century in connection with the interwar recodification, and at the beginning of the 21st century during the preparation of the 2012 Civil Code).

The article is devoted to the comprehension of three decades of experience in the creation of higher Art and Design education in Kharkiv (1960s – late 1990s) during the forced reorganization of the Kharkiv State Art Institute into the Kharkiv Art and Industrial Institute, which started in 1963. This process coincided with Khrushchev’s “Thaw” of the 1960s, against the background of the uncompetitiveness of Soviet subject design in the world and the urgent measures taken to introduce design education in Art universities of the USSR. The authors show the difficult path of approval of a new institution in Kharkiv and the design industry as a whole in its three main branches – industrial, graphic and environmental design, which happened due to the complex perception of this field by representatives of the older generation of easel artists. Only over the course of time, both directions – easel and design leveled off and began to develop successfully, reinforcing each other. It was the Design faculties that were able to maintain the potential for renewing the artistic staff of easel specialties, because during the 1960s and 1990s, the teaching staff was preserved and the graduation departments of the easel direction were restored. These departments began training of specialists in monumental and easel painting, easel and monumental sculpture, easel and book graphics, author’s poster, and restoration of works of easel and monumental painting. The design business, which caused some resistance and harassment by easelists at the beginning, later acquired an evolutionary character of development. The 1980s and 1990s were marked by significant changes in the methods of training of designers, who were already perceived by the wider artistic community as creative individuals, and artist-designers. Already at the end of the 1990s, new design branches were added to the experienced departments of Artistic Design, Industrial Graphics and Packaging, and Interior and Equipment, in particular Designing of Artistic and Decorative Fabrics. As a result, all these processes modernized the Kharkiv Art and Industrial Institute, which at the end of the 20th century already stood on the rails of the European direction. But there was still a long way to go to the state of a developed European Art School.

The Czech contribution to the human anatomy: A focus on Charles University

ABSTRACTAn extreme windstorm that took place on 7 December 1868 in the Czech Lands is analysed by means of rich documentary evidence from narrative sources, damage records, forestry journals and newspapers. Early meteorological measurements and a numerical atmospheric reanalysis support the documentary reconstruction. The windstorm reached hurricane‐force over the Czech Lands between 0900 and 1600 of local mean time and was related to the passage of a cold front. The high winds, achieving hurricane‐force, led to loss of human lives and many other casualties, as well as to severe damage to buildings and other structures. In particular, the documentary sources facilitate a quantitative reconstruction of the massive windthrow that occurred in forested areas across the Czech Lands, where the windstorm damaged at least 8 million m3 of timber, which is arguably more than has been lost to any single similar event since. Reasons for the extreme windthrow, apart from wind forces and destabilization arising from wet and thawed soils, were found in increased vulnerability arising out of old, dense and mono‐species conifer stands and inadequate clear‐cutting and thinning measures. For the Czech Lands, this event was the most damaging windstorm in the 19th century. Moreover, damage reports are found from the British Isles, the Netherlands, Belgium and Germany to Austria, the Czech Lands and Poland, documenting its disastrous effects on a (sub‐)continental scale.

In the past, various methods and technological systems were used to supply water on industrial and other sites. In the early 19th century, Professor Otto Intze invented a new form of water reservoir that could be installed in a tower tank or even on the body of a chimney. This gave rise to a structure that had never been seen before – a chimney reservoir. The advantages of this structure resulted in it quickly becoming very popular, especially in the country in which it originated, Germany. The structure spread from the German Empire into other countries, including Austria-Hungary. The first chimney reservoir on the Czech territory originated in the late 19th century, the last structure of this type was built in 1962. Although their history was short, more than sixty distinctive structures of this kind were built in the Czech lands, the twenty-one of which that have survived to the present day can be described as a unique industrial heritage. This article outlines the origin and evolution of different types of chimney reservoirs and describes the structural and technological designs used for such structures on the territory of what is now known as the Czech Republic.

The author investigates the first name Jan (John), its modifications and usage on the territory of today’s Czech Republic. On the basis of rich anthroponymic sources she has proved that the name Jan has belonged among the most frequently used names in the Czech lands since the 12th century and has kept this status to the present day. Numerous hypocoristic modifications of this name have served the purpose of distinguishing individuals bearing the same official name. Today, they still exist as both surnames (Janáček, Janda) and hypocoristic forms of first names (Jenda, Honzík) used in informal contexts

A public mosque and the tomb of the founder represent at the present day what was once a khanka, or, as it may be described, a conventual establishment for the use of Ṣũfis, erected at Cairo in the early years of the fourteenth century, by Sultan Baybars, second of the name. An earlier foundation of the same character, the first seen in Egypt, owed its existence to Saladin, who adapted to his purpose a house or mansion built in the days of the Fatimites, and known as the house of Sa'īd as-Su'ada, a designation which the existing mosque bears to the present day. Both foundations have for a long period ceased to serve the purposes for which they were erected, and, as has likewise happened to the numerous madāris or colleges founded by the Egyptian Sultans and nobles, their original destination is w ll-nigh forgotten. They are now simply classed among the public mosques of Cairo, a change from their original purpose largely due to their impoverishment, and not unlike that which has befallen many old abbey churches in England.

In the pre-March (Vormärz) period, i.e. in the first half of the 19th century, tragedy and the tragic experienced unprecedented interest not only on the part of playwrights and audiences, but also on the part of aestheticians and critics. This study focuses on several questions, namely: Where did this interest come from? Which forms of the tragic were popular and which were rejected? How did critics, such as Josef Jungmann, approach the questions of fatality and the (dis)proportion between the guilt and suffering of the tragic hero? Were the opinions of critics reflected in the works of playwrights? Were there differences in this respect between Czech- and German-written plays and reviews in the Czech lands? The first part of the study presents the main interpretive frameworks of tragedy that entered into the consideration of this genre in Central Europe and the Czech lands in the first third of the 19th century. Subsequently, attention is focused on the central dispute over fate and providence in tragedies. In the latter case, critics attempted to reconcile the tragic with the positive social values of Biedermeier culture at the cost of significantly narrowing the genre canon and rejecting the form of fatal tragedy. In the third part, the paper presents how the theoretical principles of criticism were reflected in the tragedies written in the Czech lands at that time. Especially in the case of tragic heroes chosen from national history, there was a tension between the need to motivate, in the spirit of poetic justice, the hero’s downfall by his bad character and the desire to portray the national hero as a moral authority. Finally, the last section of the paper focuses on the differences and similarities between these tendencies in Czech- and German-written criticism and drama from the Czech lands. While the arguments of critics against fatalism were similar on both sides, German-written plays seem to have overcome the paradigm of poetic justice slightly earlier.

Calcium oxalate films on works of art: A review

This article documents the relations between the verbal and visual elements found on the frames used in Portuguese tile decorations. Frames are a constant presence in the history of Portuguese azulejos, from the late fifteenth century to the present day. Their role is to integrate the decorations within the surrounding architecture and other artforms (mainly gilt woodwork, easel painting, polychrome marble inlays, ceiling painting, sculptures, and textiles), as well as to structure systems with a varying degree of complexity, usually subordinated to the idea of artistic totality. Throughout the centuries, changes in taste have influenced the different kinds of frames, often regarded as a minor part of the decoration, and therefore more open to the introduction of new artistic styles. In the light of all this, it is clear that frames are not mere finishing elements, but an important means of designing architectural spaces and structuring tile decorations. Moreover, frames are often the vehicle for a visual and textual discourse that is part of the iconographic programme they enclose. As such, they play a decisive role in the history of Portuguese azulejos, highly relevant for today’s international frame studies, and for the dialogue between images and words.

Easel paintings are assets with an important historic and cultural value. They usually possess a multi-tiered structure, composed of different layers some of which may present protein binders, making it important to identify these materials for restoration and conservation purposes. We propose the identification of different protein binders by a new fluorescent labeling method employing a coumarin based chromophore, C392STP (sodium(E/Z)-4-(4-(2-(6,7-dimethoxycoumarin-3-yl)vinyl)benzoyl)-2,3,5,6-tetrafluorobenzenesulfo-nate). The method was optimized using commercial proteins and was further tested on proteins extracted from hen’s egg yolk, white bovine milk, and rabbit skin glue. To model more realistic conditions, paint models of easel paintings were prepared. The paint models were made with hen’s egg yolk, white bovine milk, and rabbit skin glue, mixed with different pigments and submitted to artificial aging. Then the extracted proteins from the paint models were labeled with C392 which allowed a sensitive and selective identification by polyacrylamide gel electrophoresis (PAGE) of the different protein binders used. As a final test, three 19th century easel paintings, from the Italian painter Giorgio Marini, were analyzed. The results show the potential of the proposed method for the identification of protein binders present in easel paintings.

Beginnings of rocket development in the czech lands (Czechoslovakia)

On the basis of documentary evidence, proxy-data and instrumental observations, the climatic fluctuation during the last millennium in the Czech Lands is analysed. According to narrative sources, the warmest period falls between the 1260s–1380s, documents for Lamb's (1984) Medieval Warm Epoch in 1150–1300 are missing. The prevalence of extremely cold and also rainy periods, as an expression of the Little Ice Age, is most conspicuous in the 15th century, in the 1590s and, with three interruptions, between the 1730s–1850s. Since the latter half of the 19th century a rising temperature trend has manifested itself. A regional climatic scenario for the model of global warming is discussed in relation to the observed trends in the Czech Lands.

This article focuses on the origins and history of soap, particularly the development during the Industrial Revolution and the solutions that came with the development of industrial chemistry. The second part describes the origins of soap production in the Czech Lands, its intensive development at the end of the 19th century and the gradual decline until the present day.