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Where
all social life was concentrated at Charles's time...
The Hall of Ancestors
The
reconstruction of the interior of the Hall of Ancestors with wall paintings
which ceased to exist in the 16th c.
This
reception hall, where all social
life was concentrated at Charles's time, was originally decorated with
murals, the impulse for this undoubtedly being Charles's interest in
the history of his own family from both his father's and his mother's
side. Apart from historical reports, we know of the theme of the paintings
also from the volume produced in 1575 by Matousek Ptacek of Lindperk
for the Emperor Maxmilian II in which the individual figures are portrayed
in book miniatures.
From
all these sources it is clear that the genealogical cycle or
"Dynasty of the Emperor Charles", as the paintings were called
in contemporary chronicles, was depicted in them. Charles IV had the
hall decorated shortly after his return from his coronation journey
to Rome in 1355. As the head of Christian kings he thus stood on the
summit of his political power and he had his position expressed in a
historical pictorial cycle intended to present his important ancestors.
The
genealogical cycle began with biblical figures, continued with
the portrayal of emperors of Antiquity and the Merovingians and ended
with Charlemagne. Derived from this ruler was the branch of the dukes
of Brabant and Lothringia, with whom Charles IV was connected through
his father, the Czech king John of Luxembourg. The cycle went as far
as the personality of Charles IV. Although fictitious, this historical
order did not serve representative purposes only, Charles seeing his
model rulers in the portrayed figures at the same time. This interesting
and definitely magnificent wall decoration of the hall has not been
preserved, however. It ceased to exist in the 16th century, when the
damaged paintings were removed in the course of Avostalis's reconstruction
of the castle.
An idea of the decoration
of the hall is now at least given by some of the exhibits, which include
in the first place a portrait of Charles IV on a canvass of the 17th
century in which Karlstejn Castle is shown in the background, or a copy
of the busts from the triforium of St. Vitus's Cathedral at Prague Castle
which portray Charles's parents John of Luxembourg and Eliska of the
Czech Premyslid dynasty.
An
idea of the original decoration of this hall and its splendid
character is evoked today by the large gallery of portraits of sovereigns.
In all forty lifesize portraits represent fictive and real ancestors
of Charles IV from the Premyslid family, i.e., from the Czech ruling
family from which Charles's mother Eliska Premyslovna came. The portrait
gallery originated in the 17th century, but the models for the portraits
date in earlier centuries. Ideas of the likeness of legendary princes
in particular survived throughout several centuries and were interpreted
in books and paintings with certain changes up to the 18th century.
Characteristic
of these ideas are, for example, the portrayals of the oldest
rulers with somewhat oriental turbans on their head. Princes of later
times have a cap on their head and kings a crown.
The
gallery begins with a portrait of forefather Krok, his daughter
Libuse and Premysl the Ploughman, all legendary figures of Czech history.
The row of portraits of rulers whose existence is historically documented
is headed by a painting of Prince Borivoj (9th century). Also portrayed
here is Prince Vaclav (Wenceslas) of the 10th century. This unfortunate
sovereign was murdered by his brother Boleslav and later proclaimed
a saint. Charles IV held Prince Vaclav in high esteem, fostered his
cult and adoration and had scenes from his life depicted in wall paintings
on the staircase of the Great Tower at Karlstejn.
The
gallery ends with the figure of Vaclav III, who was murdered
at Olomouc in 1306. His death brought the existence of the ruling Premyslid
family to an end on the male side.
