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DOI Artikel:Klípa, Jan: The Madonna of Vys̆s̆í Brod and the Madonna of Wrocław and their donors: =
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.35032#0301
THE MADONNA OF VYSSI BROD AND THE MADONNA OF WROCŁAW AND THEIR DONORS
291
6. Ma&iwm offgsśsf ProJ, detail, Vyssi Brod, Cistercian Monastery
With slight amendment, these words of Josef Kjrâsa could be pre-
cisely related to the portrayal of the donor depicted in the Madonna of Vyssi Brod. In my
opinion, we cannot trace a formal or genetic relationship between these works, such as has
been indicated by Pavel Kropacek (and over which all newer bibliography passes in
silence),^ but nonetheless I regard as persuasive that - with regard to the 'degree of real-
ism' - the figure of the Vyssi Brod donor could have originated during the same period as
the figures of the town aldermen assembled for their vow in the miniature; i.e. the second
decade of the 15th century (ill. 7, 8).
The noted relations to the Prague milieu^ are surely not without significance in the
search for the possible commissioner of the Vyssi Brod painting. As is already something
of a tradition to make reference to, much valuable work has been carried out on this topic
by Milena Bartlovâ.^ I regard her conclusion that we must search for the donor not among
the monks of the Vyssi Brod Monastery but among the canons of Prague as wholly accu-
rate. The same specialist also points out the figure of the St. Vitus canon, the archdeacon
of Stara Boleslav (Ger.: Alt Bunzlau) and provost at St. Apollinaris in Prague - the doctor
of decrees Simon of Nymburk, who was appointed canon in 1415, later holding the posi-
tion of administrator for the leaderless archdiocese, from 1430 until his death in 1449.^ It
is he whom she considers to have been the most likely donor of the picture in question -
** Josef KRASA, Tfo&x CgAaAaayeaâv, [in:] maim' goOcła, pp. 300-1, Cat. No. 397.
Pavel KROPAĆEK, A7a/aAw Ady- /i as* As A. (AA/ JaAovâ /aa/Oa /awi /la/oiaay AC ,sVa/., Praha 1946, p. 102.
^ The first to reject an older opinion regarding the South Bohemian origins of the picture, attributing its origin instead
on the basis of a number of implicit comparisons to the Prague milieu, was Jaromir Homolka. (HOMOLKA, MaaAaa,
op. cit., p. 437.)
Milena BARTLOVÂ, MaaAaa yyieOroAła, [in:] Katerina CJJARVÂTOVÂ (ed.), 900 /A cAArcfacłaAo raJa.
SAoraAz AaRhreace, Praha 2000, pp. 249-50; BARTLOVÂ, PocOva oOrazy, op. cit., p. 236.
^ Antonin PODLAHA, Sarias* /iraa/ioyAora/a Acaaora/a, ara/aAacoaora/a..., Pragae 1912, p. 83, No. 535; Jaroslav
KADLEC, Pra/i/aPaa^AyaA aAAavaz'a/i A/ai 7, Rim 1987, p. 288. According to sources cited by Vaclav Tomek, Simon's
probably first appointment was the function of a canon in the collegiate church of SS Peter and Paul at Vysehrad,
Prague. Wacslaw Wl. TOMEK, ZaAarTy Aari/io /aAto/iAa /iraisiâ/ia. (2&07 777, 7R R A7a/a .S7raaa, 77ra<7 PraisAf a
T/raAaay, JRAaAraaf, Praha 1872, p. 183.
291
6. Ma&iwm offgsśsf ProJ, detail, Vyssi Brod, Cistercian Monastery
With slight amendment, these words of Josef Kjrâsa could be pre-
cisely related to the portrayal of the donor depicted in the Madonna of Vyssi Brod. In my
opinion, we cannot trace a formal or genetic relationship between these works, such as has
been indicated by Pavel Kropacek (and over which all newer bibliography passes in
silence),^ but nonetheless I regard as persuasive that - with regard to the 'degree of real-
ism' - the figure of the Vyssi Brod donor could have originated during the same period as
the figures of the town aldermen assembled for their vow in the miniature; i.e. the second
decade of the 15th century (ill. 7, 8).
The noted relations to the Prague milieu^ are surely not without significance in the
search for the possible commissioner of the Vyssi Brod painting. As is already something
of a tradition to make reference to, much valuable work has been carried out on this topic
by Milena Bartlovâ.^ I regard her conclusion that we must search for the donor not among
the monks of the Vyssi Brod Monastery but among the canons of Prague as wholly accu-
rate. The same specialist also points out the figure of the St. Vitus canon, the archdeacon
of Stara Boleslav (Ger.: Alt Bunzlau) and provost at St. Apollinaris in Prague - the doctor
of decrees Simon of Nymburk, who was appointed canon in 1415, later holding the posi-
tion of administrator for the leaderless archdiocese, from 1430 until his death in 1449.^ It
is he whom she considers to have been the most likely donor of the picture in question -
** Josef KRASA, Tfo&x CgAaAaayeaâv, [in:] maim' goOcła, pp. 300-1, Cat. No. 397.
Pavel KROPAĆEK, A7a/aAw Ady- /i as* As A. (AA/ JaAovâ /aa/Oa /awi /la/oiaay AC ,sVa/., Praha 1946, p. 102.
^ The first to reject an older opinion regarding the South Bohemian origins of the picture, attributing its origin instead
on the basis of a number of implicit comparisons to the Prague milieu, was Jaromir Homolka. (HOMOLKA, MaaAaa,
op. cit., p. 437.)
Milena BARTLOVÂ, MaaAaa yyieOroAła, [in:] Katerina CJJARVÂTOVÂ (ed.), 900 /A cAArcfacłaAo raJa.
SAoraAz AaRhreace, Praha 2000, pp. 249-50; BARTLOVÂ, PocOva oOrazy, op. cit., p. 236.
^ Antonin PODLAHA, Sarias* /iraa/ioyAora/a Acaaora/a, ara/aAacoaora/a..., Pragae 1912, p. 83, No. 535; Jaroslav
KADLEC, Pra/i/aPaa^AyaA aAAavaz'a/i A/ai 7, Rim 1987, p. 288. According to sources cited by Vaclav Tomek, Simon's
probably first appointment was the function of a canon in the collegiate church of SS Peter and Paul at Vysehrad,
Prague. Wacslaw Wl. TOMEK, ZaAarTy Aari/io /aAto/iAa /iraisiâ/ia. (2&07 777, 7R R A7a/a .S7raaa, 77ra<7 PraisAf a
T/raAaay, JRAaAraaf, Praha 1872, p. 183.