bedchamber-txt-1

Madonna with Child and Christ the Martyr. A diptych by Tommas da Modeno from about 1355 which was most likely commissioned by Charles IV.

The second floor of the imperial palace exclusively served the needs of the emperor. The room with a fireplace and an oratory was undoubtedly the imperial bedchamber. The chapel, situated above St. Nicholas's Chapel, was also originally decorated with wall paintings, but they have not been preserved. A remainder of a wall painting was found in 1960 only on the inner side of the arch.

In the southern wall of the oratory there is a winding staircase which connected the imperial bedchamber directly with the residential quarters of the empress, for whom the third floor of the palace was exclusively reserved.

In the interior of the former private chapel there is now a diptych 'Madonna with Child and Christ the Martyr', the work of Tommaso da Modena. A painter of Italian origin and a contemporary of Charles IV, he mainly worked at Treves. The diptych originated approximately about 1355 and forms a part of the original furnishings of the castle.

In addition to the Modena diptych the personal property of Charles IV also included the Madonna with Child which the sovereign brought to Bohemia from France, perhaps from Avignon. The model for the Madonna Aracoeli also formed a part of Charles's private collections. According to a historical tradition Charles received it as a gift from Pope Urban V in 1368. The panel painting of the Madonna of the Byzantine type in a richly decorated frame originated in the workshop of the Master of the Trebon Altar after a model painted on parchment which later became a part of the St. Vitus treasure in Prague.

An alabaster statue of the Madonna with child of the mid-14th century, brought to Bohemia from France by Charles IV.

A polychrome statue of St. Catherine, who enjoyed great popularity with the emperor, of the late 14th century. It represents the period of the so-called beautiful style.

The painted frame of the Madonna Aracoeli is characteristic of Czech panel painting. Figures of prophets and saints are portrayed on it - David on the above left, Isayah on the right and Jeremiah and Ezekiel below. Painted above on the left is St. Catherine and below her are St. Margaret and St. Ursula. On the right above there are St. Barbara, St. Dorothy and St. Apolonie.

Nowadays the dominant feature of the interior of Charles's bedchamber is a hanging textile work representing a copy of medieval woven cloth of the time of Charles IV. Drapes frequently supplemented the furnishings of medieval rooms, which they not only decorated, but to which they also lent warmth. The original Karlstejn textile came directly from Charles's property, being preserved in his burial artefacts in the royal tomb at Prague Castle. The drape is decorated with an in-woven pattern with motifs of legendary animals known as fonghoangs, two-legged birds and khilins, stylized dogs and supplementary vegetable ornaments.

Similar textiles were produced after designs imported from eastern countries, especially in northern Italy. It is here that the origin of Charles's textile, which documents the high standard of textile art and the refined feeling for the decoration of interiors at Charles's time, can be sought.

The beautiful sculpture of Charles's favourite patron saint, St. Catherine, dates in the late 14th century. Due to its conception it represents the so-called 'beautiful style', characterized by the S-shaped form of the body. On St. Catherine's Day Charles won his first and life battle at San Felice Castle in Upper Italy in 1332 and his respect for this saint is said to date from that time, because he was convinced that he gained his victory with her help.

Detail of the design on a hanging textile.

Other furnishings of the room indicate its original function and recall Charles's private life. His first wife was Blanche of Valois, who died at a very young age.

Charles's second consort, Anne of the Palatinate, who gave birth to his first son, Vaclav, also died young - at twenty-four.

His third consort was Anna Svidnicka, mother of Charles's successor, Vaclav IV, who is portrayed in the portrait wall paintings of the Church of Our Lady at Karlstejn.

In 1363 Charles married for the last time - on this occasion the lady in question was Elizabeth of Pomerania, who was thirty years younger than him at the time. According to a legend she possessed unbelievable strength, so that she was able to bend horsehoes and break swords. She presented Charles with another two sons, Zikmund and Jan.

As documented by contemporary reports, the emperor's fourth marriage was the most harmonious in spite of the fact that it was realized with a view to power and dynastic interests. Through it Charles enlarged his territory by the addition of Svfdnica, Javornica, the Silesian principality and several estates in Bavaria, the Meissen region and the Palatinate.


\| close window \| map of region \| ground plan \| photobook \| more history \| next page
		Second floor of the imperial palace served the needs of the emperor... Charles IV's Bedchamber
Madonna with Child and Christ the Martyr. A diptych by Tommas da Modeno from about 1355 which was most likely commissioned by Charles IV. The second floor of the imperial palace exclusively served the needs of the emperor. The room with a fireplace and an oratory was undoubtedly the imperial bedchamber. The chapel, situated above St. Nicholas's Chapel, was also originally decorated with wall paintings, but they have not been preserved. A remainder of a wall painting was found in 1960 only on the inner side of the arch. In the southern wall of the oratory there is a winding staircase which connected the imperial bedchamber directly with the residential quarters of the empress, for whom the third floor of the palace was exclusively reserved. In the interior of the former private chapel there is now a diptych 'Madonna with Child and Christ the Martyr', the work of Tommaso da Modena. A painter of Italian origin and a contemporary of Charles IV, he mainly worked at Treves. The diptych originated approximately about 1355 and forms a part of the original furnishings of the castle. In addition to the Modena diptych the personal property of Charles IV also included the Madonna with Child which the sovereign brought to Bohemia from France, perhaps from Avignon. The model for the Madonna Aracoeli also formed a part of Charles's private collections. According to a historical tradition Charles received it as a gift from Pope Urban V in 1368. The panel painting of the Madonna of the Byzantine type in a richly decorated frame originated in the workshop of the Master of the Trebon Altar after a model painted on parchment which later became a part of the St. Vitus treasure in Prague. An alabaster statue of the Madonna with child of the mid-14th century, brought to Bohemia from France by Charles IV. A polychrome statue of St. Catherine, who enjoyed great popularity with the emperor, of the late 14th century. It represents the period of the so-called beautiful style. The painted frame of the Madonna Aracoeli is characteristic of Czech panel painting. Figures of prophets and saints are portrayed on it - David on the above left, Isayah on the right and Jeremiah and Ezekiel below. Painted above on the left is St. Catherine and below her are St. Margaret and St. Ursula. On the right above there are St. Barbara, St. Dorothy and St. Apolonie. Nowadays the dominant feature of the interior of Charles's bedchamber is a hanging textile work representing a copy of medieval woven cloth of the time of Charles IV. Drapes frequently supplemented the furnishings of medieval rooms, which they not only decorated, but to which they also lent warmth. The original Karlstejn textile came directly from Charles's property, being preserved in his burial artefacts in the royal tomb at Prague Castle. The drape is decorated with an in-woven pattern with motifs of legendary animals known as fonghoangs, two-legged birds and khilins, stylized dogs and supplementary vegetable ornaments. Similar textiles were produced after designs imported from eastern countries, especially in northern Italy. It is here that the origin of Charles's textile, which documents the high standard of textile art and the refined feeling for the decoration of interiors at Charles's time, can be sought. The beautiful sculpture of Charles's favourite patron saint, St. Catherine, dates in the late 14th century. Due to its conception it represents the so-called 'beautiful style', characterized by the S-shaped form of the body. On St. Catherine's Day Charles won his first and life battle at San Felice Castle in Upper Italy in 1332 and his respect for this saint is said to date from that time, because he was convinced that he gained his victory with her help. Detail of the design on a hanging textile. Other furnishings of the room indicate its original function and recall Charles's private life. His first wife was Blanche of Valois, who died at a very young age. Charles's second consort, Anne of the Palatinate, who gave birth to his first son, Vaclav, also died young - at twenty-four. His third consort was Anna Svidnicka, mother of Charles's successor, Vaclav IV, who is portrayed in the portrait wall paintings of the Church of Our Lady at Karlstejn. In 1363 Charles married for the last time - on this occasion the lady in question was Elizabeth of Pomerania, who was thirty years younger than him at the time. According to a legend she possessed unbelievable strength, so that she was able to bend horsehoes and break swords. She presented Charles with another two sons, Zikmund and Jan. As documented by contemporary reports, the emperor's fourth marriage was the most harmonious in spite of the fact that it was realized with a view to power and dynastic interests. Through it Charles enlarged his territory by the addition of Svfdnica, Javornica, the Silesian principality and several estates in Bavaria, the Meissen region and the Palatinate.

\| close window \| reserved \| reserved \| reserved \| reserved \| reserved \|