A Variation on the ‘Villa’ at the Bohemian Periphery: The Case of the Rožmberk (Rosenberg) Looking for Leissure Residence of Kratochvíle

Ondřej Jakubec

‘There are meanings hidden behind the veil of stories.’ (Giorgio Vasari, Ragionamenti)

In August 1582, Vilém of Rožmberk (1535–1592), the ruler of the Rožmberk family and the highest burgrave, met with his well-travelled brother Petr Vok (1539–1611) in Vilém’s recently-acquired fortified manor house near Netolice in South Bohemia. Vilém, the most important representative of the Bohemian estates, intended to build a new residence there, later to be called Kratochvíle. The purpose of this meeting was to discuss how to ‘erect a glorious building here’.1 The expression ‘glorious’ in the sense of ‘outstanding’ or ‘famous’ shows that from the very beginning, Vilém of Rožmberk meant his residence to be something exceptional that would attract the desired attention. The goal of this text is to introduce the Kratochvíle complex, the occasional and recreational residence begun at the end of the sixteenth century by Vilém of Rožmberk and later completed by his brother Petr, the last two members of the family line. The residence is well preserved, including its rich decoration, and provides a wealth of material for interpretation. What did Kratochvíle mean to its owners? How is it related to other, similar buildings of the period? Kratochvíle is quite unique among these buildings, as it is at once a pleasure house (Lustgebäude), a hunting lodge (casino del caccia), an occasional residence, and a villa. Kratochvíle’s uniqueness lies not only in its appearance and adornment but also in its origins and how it came to take on this particular form. The residence is also important because even though it was built on what seems like the periphery (South Bohemia), its purpose, type and decoration all together form a Gesamkunstwerk unique in Bohemia. Instead, it calls for comparisons with the Italian villas of late Renaissance, built not long before Kratochvíle, which also approach them in terms of typology, quality and structure. Kratochvíle attracts attention as a bearer of meaning(s) and we can read its unique decorative program as a key to understanding those meanings. Despite some limitations to this reading, it can still reveal the various social functions of Kratochvíle. Kratochvíle’s content is representative of a trend in transalpine regions to imitate both the forms and the lifestyle of the Italian Renaissance. As a micro-problem, the residence allows us to observe the phenomenon of reception of the villa architecture in Renaissance Europe north of the Alps. Kratochvíle’s architecture raises a methodological question of how to interpret such a building. Every interpretation is a construction of the artwork’s meaning, strongly dependant on the individual historian’s approach. Kratochvíle can be perceived as 1) a form, or 2) a concept/message (based on our use of the iconographic- iconological method), or 3) a medium of its own utilitarian and social functions. All of these points of view present Kratochvíle as a slightly different object: 1) an idiosyncratic late-Renaissance building, 2) a residence with unique decoration, or 3) a social or cultural symptom of aristocratic dwelling in the countryside. For historians or art historians, these are points of departure for different directions the research can take: the villa as an example of central European Renaissance architecture; the villa/residence’s architectural typology; the changing concept of the Italian villa in transalpine Europe as a response to different building needs; the residence as a functional organism both within the network of other Rožmberk residences and independent of them; the spatial divisions of gender within Kratochvíle as a nuptial residence (the iconographic program can be analyzed from this perspective and its different levels of meaning highlighted); or Kratochvíle as a manifestation of aristocratic

1 Jaroslav Pánek (ed.), Václav Březan: Životy posledních Rožmberků, Prague 1985, p. 465.

28 orchards’ tastefully complemented by the ‘exquisite artful garden’. historian Pavel Stránský praised Kratochvíle’s architecture, describing it as a ‘charming summer house with large vedute Rudolph II had made to document the residence’s appearance. At the beginning of the seventeenth century, Rudolph IIpurchasedpartoftheRožmberks’property,includingwholeKratochvíle estate. eg Sgudls) A i te ae f rtcvl, uh ae epes h caatr f rsortc country aristocratic of character the express names refuges asplacesofpleasure. such Kratochvíle, of case the in As Sigmundslust). (e.g. It Innsbruck near Austria of planned. Sigismund of manors first and villas hunting in was 1450 after documented first Kratochvíle is toponymy when hunting to this understanding reference to similar Europe, Central In architecture. of kind in this with connect naturally we function recreational the reflects keys appeared the of name one The provides residence. English), Rožmberk in Pastime (literally Kratochvíle itself, name The Social LifeandtheFunctionsofHuntingVilla seventeenth centuryvisitorsofKratochvílewereimpressedbyitscomplexityandsensual effect. Jakub Krčín of Jelčany, the Rožmberk administrator, had it built some time before 1569. before time some built it had administrator, Rožmberk the Jelčany, of Krčín Jakub An earlier residence, a small fortified manor called Leptáč near Netolice, originally stood on the site of Kratochvíle. Building History courtyard and exquisitely decorated menagerie. He menagerie. decorated exquisitely and courtyard beautiful a château…with quadrangular delightful a built they where Kratochvíle… of château hunting majestic Jesuit historian Bohuslav Balbín compared Kratochvíle to the gardens of Rudolph II. He wrote admiringly of ‘the a builder from Arogno in the Swiss-Italian region of Ticino and the principle architect for the Rožmberk family. Rožmberk the for architect principle the and Ticino of region Swiss-Italian the in Arogno from builder a its owner. creates a sophisticated cultural landscape around itself, revealing the personal, social, and political ambitions of that villa ideal an of image the with confronted are we present and past the both In aspects. these of one any to any case,Kratochvílerepresentsacomplexphenomenon,andresearchonthismonumentshouldnotbelimited In etc. marriage, aristocratic history, family reception, and politics cultural self-representation, social lifestyle, 7 10 9 8 6 5 3 2 4 Marie of Baden. However, the manor was inadequate in both size and splendour for Vilém’s needs, and so he he so and needs, Vilém’s for splendour and size decided both to construct a new building near in the old one in 1582. inadequate was manor the However, Baden. of Marie Anna wife, third his with manor the in stayed he 1581 of summer the in and reserves hunting building began soon the patronage of Vilém’s brother, Petr Vok. Petr brother, Vilém’s of patronage the After Vilém’s death in 1592, work continued on completing and decorating the residence at Kratochvíle, now under residence. the of decoration and completion the stimulated probably 1587 in Pernštejn of Polyxena with marriage new Vilém’s work. construction the in break or pace slow the explain may 1583 April in Marie, Anna wife, Vilém’s time that the new building had been By completed and painters and stucco artists 1589. were working on its decoration. The July death of in consecrated and property the of corner south-east the on erected was chapel a 1585, In suggests the exceptional nature of the place. The Rožmberk ruler did not hide his reasons for this acquisition; acquisition; this for reasons exchange his ‘divertissement’ a hide provide this to not meant was of did it value ruler Rožmberk The The Sedlčany. place. of the of town nature the exceptional the for suggests exchange in Krčín from manor the acquired Rožmberk to it with which he would surpass the emperor Rudolph II himself ’.

1986, pp. 138–139, 228. pp.138–139, 1986, 38 p. Ibid., 32 p. Ibid., Krčálová, Jarmila Antl, Theodor pp.29–30. L´environnement duchâteau etdelavillaauxXVe siècles,Paris1999, etXVIe Helena Businská–Zdeňk Pánek –Březan(seenote1),pp. 29 Architectural Character,, 61,2012, Opusculahistoriaeartium no.2,pp.98–119. Pánek –Březan(seenote1),pp.29 Claudia Lazzaro,T , Paris 2006, pp. 302–305. SeealsoLippmann’s pp.302–305. (ed.), Maisonsdeschamps textin this collection. dansl’EuropedelaRenaissance , Paris2006, W olfgang Lippmann, DalcastellodicacciaalLusthaus cinquecentesco.LaMaison desChampsnell´ambiente austro-germanico,in:MoniqueChatenet That under the Rožmberks Kratochvíle enjoyed the admiration of its contemporaries is apparent from the from apparent is contemporaries its of admiration the enjoyed Kratochvíle Rožmberks the under That 2

, Netolice 1903, p.114. Dějiny městaNetolic,Netolice1903, , Prague 1986, p.31. Renesanční stavbyB.Maggiho vČechách anaMoravě,Prague1986, he Sixteenth-Century Central Italian Villahe Sixteenth-CenturyCentralItalian andtheCulturalLandscape,in:JeanGuillaume(ed.),Architecture, jardin,paysage. Krásy a bohatství české země. Výbor z díla Rozmanitosti z historie Království českého,Prague českézemě.VýborzdílaRozmanitostihistorie Království Krásyabohatství a Tichá Balbín: (edd.),Bohuslav 4, 465. ComprehensivelyinOndřejJakubec,DefiningtheRožmberkResidenceof Kratochvíle: theProblemofits 4, 446. 10

for him, which was reflected in the new name of the residence. the of name new the in reflected was which him, for 7 The Rožmberk era at Kratochvíle ended in 1602, when the emperor emperor the when 1602, in ended Kratochvíle at era Rožmberk The [Vilém of Rožmberk] of [Vilém 5 The project was designed in 1583 by Baldassar Maggi, 8 In his 9 These descriptions demonstrate that in the Miscellanea Historica Regni Bohemiae, boasted that he would add a garden a add would he that boasted 3

In early 1580, Vilém of of Vilém 1580, early In 4 Vilém Vilém 6

29 Looking for Leissure of collective aristocratic entertainment after the mid-sixteenth century. mid-sixteenth the after entertainment aristocratic collective of eaeis moy h cnrs bten notolbe wl ntr ad iiiainclue O te other the On civilization/culture. and hand, byappropriatinganddominatingtheanimalsrulerdemonstratedhisauthority andgrandeur. nature wild uncontrollable, between contrast the embody menageries well known grottos with groups of animals were created after the mid-sixteenth century. On the one hand, these of Italian villa gardens, especially the Medici garden in Castello or garden of Palazzo Pitti in Florence, where the representations as is evident in Kratochvíle’s decoration. The painted menageries in Kratochvíle are reminiscent i pwr vr h hne animals. hunted the over power his through symbolically it expressing and authority his of legitimacy the confirming is, that ruler, the staging for also provided an environment for important social meetings. social important for environment an provided also through a one-storey wing with a carriage-way tower which had both a residential and operational function. operational and residential a both had which tower carriage-way a with wing one-storey a through premises approximately the enter Visitors 2] [Fig. centre. the in approximately stands itself oriented villa the plan; ground symmetrical is vicinity the in park deer original, the delineates it into incorporated buildings with wall rectangular A 1] [Fig. axis. north-south the along fenced-in original the with compound Kratochvíle The Architecture andtheDecorationofVilla also reflectedinitsarchitecturalandartisticcharacter. is which residence, the of potential self-representation and social the with corresponds fully guests aristocratic of chapel. villa’s array the The Kratochvíle. at Rožmberks the of visitors consecrated frequent were estates Bohemian of representatives Important Puteo Antonio nuncio pope’s the 1595, in and Kratochvíle, visited Gonzaga Anna 19 21 20 18 17 16 15 14 13 12 11 hunts, a trend that naturally continued into the Early Modern era. Modern Early the into continued naturally that trend a hunts, theoretical treatises were written from the twelfth century emphasizing the symbolic interpretation of aristocratic accessibility (it stood within one day’s travel from the main Rožmberk towns). Judging from the preserved bills, preserved the from Judging towns). Rožmberk main the from travel day’s one within stood (it accessibility indicated hunting, which is reflected in the iconography of the villa’s decoration. villa’s the of iconography the in reflected is which hunting, indicated hunt, manifestly confirmed the aristocrat’s place in feudal society. feudal in place aristocrat’s the confirmed manifestly hunt, to privilege exclusive nobility’s the by supported skills, These war. for preparation and exercise, recreation, as lengthy stays of a large number of guests with their entourages and horses. In 1598-1599, Petr Vok stayed in in stayed persons. Vok 200 approximately of consisted Petr which this court, Rožmberk During whole 1598-1599, the Krumlov. hosted Kratochvíle Český period In in epidemic horses. plague the and to due entourages months ten their of period with exceptional an for guests Kratochvíle of number large a accommodate of could stays villa The lengthy festive. and extraordinary as perceived were Kratochvíle in residence of periods The expression, ‘rytířské kratochvíle’ (‘ intimate spacesintheindividualhallsorprivateapartments. the to proceeding then and residence. This reserve spatial and chronological hunting arrangement allowed the the festivities to spread in out or separate beginning into more phases, several in orchestrated were Festivities that provided a luxurious environment for an informal lifestyle and a backdrop for aristocratic aristocratic hunting lodges, Kratochvíle was not a piece of temporary architecture; self-representation. it was a permanent structure

Jiří K t Deppe, Uta , New Haven – London 1995, pp.197–227., NewHaven–London1995, Culture inEuropeandLatinAmerica 1450–1650 Ibid., pp.316,326, 4 Pánek –Březan (seenote1),pp.5 Claudia Lazzaro,AnimalsasCultural Signs:AMediciMenagerieintheGrottoatCastelloin: ClaireFarago(ed.), 2007, s.219–247, esp.p.219.– JeremyKruse, Hunting,magnificence andthecourtofLeoX,RenaissanceStudies7, p.256. 1993, danslaToscanepaysage desMédicis, in:Clauded´Anthenaise–MoniqueChatenet(eds.),Chassesprincièresdansl´Europe delaRenaissance,Paris Krause, Burkhardt pp. 195–196. Bůžek, Václav Ibid., p.314,316,332,4 Pánek –Březan(seenote1),pp.181–182. honorem. ProfesoruJaroslavuMezníkovi přáteléažácik pětasedmdesátýmnarozeninám,Brno2003,pp.613–622. Václav Bůžek,„Rytířskékratoc Pánek –Březan(seenote1),pp.5 Kratochvíle’s function reflected its peripheral location. The residence combined seclusion with relatively good Around 1600thenewresidenceinNetolicehuntingreservewascommonlycalled‘Kratochvílpalace’. In the aristocratic environment, hunting was not only a form of entertainment, but also a kind of art, practiced 68, 1999, pp.255–289. 1999, Jihočeskýsborník historickýubeš, Zásobování sídelPetra 68, Voka potravinami(1592–1602), z Rožmberka Die Festkultur am Dresdner Hofe Johann Georgs II. Von pp.19,33,59–50. SachsenDie FestkulturamDresdnerHofe JohannGeorgsII. , Kiel2006, (1660–1679) Ferdinand Tyrolský meziPrahouaInnsbruckem. Šlechta Habsburků,ČeskéBudějovice2006, zemínacestěkedvorůmprvních zčeských , Stuttgart 1996, pp. 38, 53, 59, 90–98. – Hervé Brunon, La chasse et l´organisation du –HervéBrunon,Lachasse etl´organisation 90–98. 53,59, Die JagdalsLebensform pp.38, undhöfisches „spil“,Stuttgart1996, 69. 69–470. hvíle“ namístodržitelskémdvořearciknížeteFerdinanda, in:Tomáš –LiborJanMartin Wihoda Borovský (eds.),Ad vitamet 41, 546. 551. 42, 544–545, 17 ritterlicher khurtzweil’ n utn lde, cul ut wr cmlmne b ter symbolic their by complemented were hunts actual lodges, hunting In 21 or knightly divertissements), refers to various forms 14 In 1588, Archduke Ferdinand of Tyrol and his wife wife his and Tyrol of Ferdinand Archduke 1588, In

16 15 Hunting entertainments created occasions created entertainments Hunting Despite the medieval criticism of hunting, of criticism medieval the Despite 12 For the Rožmberks the For Reframing theRenaissance.Visual 13 Unlike some of the other the of some Unlike mainly kratochvíle 20 The villa villa The 18 11 19

30 Looking for Leissure the ItalianRenaissancevillas,frescoes were meanttoevokeEdenorArcadia. by inspired that, possible also is It well). as Kratochvíle in kept were camel, and buffalo as such animals, (exotic residences similar surrounded often which gardens zoological in animals keeping of practice contemporary the reflected also have may this degree certain a To realm. animal the of variety colourful the of experience visual the choice of for such diverse animal motifs. reasons One of them possible may be an attempt several to provide the are visitor with an intensive There creatures. mythical as well as animals, exotic and local both comprises 25 24 23 22 1582). Weidtwerck, Iag und von (Figuren Amman Jost engraver German the by woodcuts by inspired scenes hunting various with hall decorated the rooms on both floors ofBrunswick, thefrom mainpainter residentiala building.Widman, OnGeorg the1590, groundIn floor,interior. heits adornedof thedecoration entrance rich unusually the with contrasts chapel the of exterior inconspicuous the principle, similar a Following floor. second the on stucco gilded white the with peak its reached and floor ground the on frescoes the well, with began as adornment interior sophisticated the the where in employed was surprise of effect The premises. the through moved guests as gradually either openoroff-limitsforvisitorsdependingontheirsocialstatus. Like other aristocratic residences, Kratochvíle is based on the principle of select accessibility, where spaces were the multi-layered confines defined by several boundaries with the central building turned into an isolated island. hierarchy, clear a has Kratochvíle of structure whole The owners. their for space private a provided they halls, and both consisted of an ante-chamber and a bedroom. Even though these apartments are connected to the large Polyxena, wife his to larger the and Vilém to belonged smaller the apartments second-floor the Of floor. second The Kratochvíleinteriorsgivetheimpressionofanunusualgrandeurbecausewidespanvaults. floors. both on size same the of halls central two with arrangement symmetrical a is it – identical almost floors storey building, intersects the axis of the complex. It is built on a three-part ground plan with the layouts of both two- rectangular simple a , central The 5] 4, 3, [Figs. bridge. a by accessed be only can which island an on the of symmetry original compound.) Inside the wall the follows the the rectangular enclosure, isolating the central residential building disrupt later, built were which pavilions, two (Another walls. side opposing the of centre the into two and wall the four of are corners into There incorporated are added. which later of two was pavilions, residential tower simple a which to chapel, a contains wing entrance the of corners the of One mythological poetic scenes or scenes poetic mythological monkey, wild boar and Alpine ibex, all inspired by Amman’s 1569 prints. 1569 Amman’s by inspired all ibex, Alpine and boar wild monkey, of figures with decorated armed hunters and various animals: a lion, rhinoceros, are elephant, deer, lioness, fox, wolf, unicorn, mountain goat, vaults the too, Here, hall. guard monkey adjoining the duck, of walls the and on featured wolf is (reindeer), iconography deer hunting-animal Similar camels. fallow two and a bear, (vervet), monkey as gryphon, lion, such leopard, (baboon), – 1569) Thierbuch , neuw (Ein Jost after woodcuts modeled also Amman’s – animals painted separately by enhanced further is murals the nature of The theme preserved. hunting been and have frescoes these of fragments only however, hall; entrance the in walls the of ’, the frescoes mentioned in Georg Widman’s design Widman’s Georg in mentioned frescoes the Historien’, ‘antiquitetischen by dominated is floor whole the artistically and thematically. Aside from the occasional mythological figures of antique deities in Vilém’s Jupiter preserved: been courting Io;PanandSyrinx;thebirthofAdonis; ApolloandDaphne;theSilverAge;killingPython. have Goltzius, Hendrik by prints after modeled scenes, following the of scenes, set painted larger originally the From door. the and windows the above vaults in fields small in set Metamorphoses on modeled are which Ovid’s from stories with complemented are scenes hunting the hall, entrance Vertumnus, the In Cort. Cornelis by prints the and Cyparissus, Autumnus, deities, pastoral three the to dedicated is hall

ihe Thimann, Michael Bůžek –Jakubec (seenote3),pp.93–95. 128–137. pp. Ibid., , Rotterdam2003,pp.225–228. Illustrations VII Gero Seelig–GiuliaB h vla opud a dsge t srrs vstr truh t euie aot hc ws revealed was which layout elusive its through visitors surprise to designed was compound villa The the on apartments separate two and floor ground the on one with apartments three contained Kratochvíle Aside from hunting and animal themes, both ground-floor halls contain another iconographic layer of iconographic another contain halls ground-floor both themes, animal and hunting from Aside Compared to the ground floor, the decoration of the second floor offers an entirely different world, entirely an offers floor the second of decoration the floor, ground the to Compared Lügehafte Bilder. Ovids favoleunddasHistorienbild inderitalienischen Renaissance , Göttingen2002. Lügehafte Bilder. Ovids artrum –MarjoleinLeesberg,The NewHollsteinGermanEngravings,Etchings andWoodcuts 1400–1700. JostAmman:Book 22 Fg 6 Ohr utn see ad adcps ee iey ane i lwr sections lower in painted likely were landscapes and scenes hunting Other 6] [Fig. favola 25 which are also related to the natural world. A large space in the guard the in space large A world. natural the to related also are which 23 Remarkably, this diverse menagerie diverse this Remarkably, 24

studiolo

31 Looking for Leissure and Lucretia committing suicide. fiancée his and Allucius, chieftain Iberian the before Scipio general Roman the Livy, from scenes two depicting Hope, Faith, vault, murals of set the interesting another offers bedroom Polyxena’s of lunettes. the in virtues cardinal four axis and Love, and the in virtues theological three virtues: seven the of personifications female of heroic Romans, Mucius Scaevola and Marcus Curtius. The vault in the ante-chamber is also adorned with a series King Tarquinius Superbus, depicted here with the messenger from Gabii. Two medallions feature prototypes of Romulus killing Remus and the enthroned Numa Pompilius, as well as two scenes from the life of the last Roman characteristics. ideal Vilém’s to referring Temperance, and Wisdom Courage, Justice, virtues, cardinal four of personifications himself, as is apparent from the coats of arms of his four wives. These coats of arms are complemented with the Rožmberk of Vilém to referring figure emblematic traditional the rider, Rožmberk the shows which vault the of panel central the in composition the around concentrated is scenes Livian of set whole The Gauls. the fighting Manlius Titus and Corvinus Valerius Marcus and Curiatii; and Horatii of battle the father; her of body the over Servius King Cocles; Horatius II; Tullius; two scenes with Hierus Queen Sophonisba; the assassination of King Tarquinius Priscus; Tullia in a Syracusian carriage running the of assassination the Rome; spare to Coriolanus Martius begging Volumnia and Veturia senate; the to summoned Cincinnatus Lucius women; Roman escaping threatening soldiers Etrurian camp; Etrurian the from fleeing companions her and Cloelia Caenina; of king the nursed by the wolf; Senator Popillius Laenas drawing a circle around King Antiochus Epiphanes; Romulus killing 27 30 29 28 26 scenes aremodeledafterprintsbyRaphaelSadeler. these of All Sardanapalus. and Heliogabalus Solomon, lunettes: the in preserved partly been has this men; over of concept moralizing The man. over victory woman’s of motif the accentuates cut hair his orders she as Delilah with Samson of scene central The of the decoration from 1589. Vilém’s office features mainly Old-Testament and ancient Greek and Roman scenes. scenes, all derived from woodcuts by Jost Amman who illustrated numerous Latin and German editions of Livy. Livy’s by inspired history twenty-five altogether are There apartment. Polyxena’s in featured themes the supplied also which condita urbe ancient-Roman from scenes with filled is vault central large, The Temperance. of decoration begins with female personifications in the extensions of the vault, depicting Fama, Bounty, Love, and Polyxena wife, Vilém’s to belonged The function. festive that its signifies clearly Hall Golden the bedroom of decoration luxurious The Pernštejn. and the Rožmberk and ante-chamber the in found are stuccoes Other most numerous set of stuccoes adorns the vault above the Golden Hall, Kratochvíle’s central and banquet richest hall. The decoration. [Fig. Hvězda’s 7] of that equal cannot stuccoes Kratochvíle’s of quality the although motif, decorative exclusive and modern very a time that at was what complexity comparable with employs Bohemia in work architectural other no Prague, near Palace) Summer (Star Hvězda imperial the of exception the With the in out northern in Arogno (carried near technique the both of choice town The Maggi. Baldassare architect Kratochvíle’s a of hometown the and Italy from artist an Melano), Melana/Melani/da (Antonio Melano from Antonio and warnings against the human vices. human the against warnings and with cupidsinthetopofvault,andaseries ofwaterbirds. Such complex employment of Livian scenes executed in the technique of ‘Roman’ stucco is exceptional even context. European exceptional wider is the in stucco ‘Roman’ of technique the in executed scenes Livian of employment complex Such

II, Rotterdam 2002, p. 191, no. 45–46; IV, Rotterdam2002,p.191,no. 45–46; no. 88. Illustrations II, p.148, Gero Seelig–GiuliaB Amsterdam 1980, no.180. Amsterdam 1980, in ČeskýKrumlov). Itwasmodelledafterthe emblem ofAndreaAlciatofrom DiverseImprese(Lyon 1551), no. 121. T Lejsková-Matyášová, Milada Karl G. Boon, Boon, G. Karl Martin Sperlich (eds.), Formaetsubtilitas. Festschrift fürWolfgang, Berlin–NewYork zum75. Schöne Geburtstag pp.198–218. 1986, Christian Tümpel, BildundT he decorationiscomplemented byanallegoryofPoverty (depictedalso on thewallaroundKratochvíle andonthefacadeofmain Rožmberkchâteau n oyeas prmn tee nin-oa see cniu i te necabr ih eitos of depictions with ante-chamber the in continue scenes ancient-Roman these apartment Polyxena’s In Stuccoes dominate the decoration on the villa’s second floor. They were made some time before 1589 by 1589 before time some made were They floor. second villa’s the on decoration the dominate Stuccoes exempli virtutis ) (exempli models moral both of cycle a as interpreted be can history Roman from scenes These style of white stuccoes with gold decoration) and the classical iconography is remarkable. is iconography classical the and decoration) gold with stuccoes white of style all´antica Hollstein´s Dutc artrum –MarjoleinLeesberg,The NewHollsteinGermanEngravings,Etchings andWoodcuts 1400–1700. JostAmman:Book ext. ZurRezeption antikerAutorenindereuropäischen Kunst derNeuzeit(Livius, Valerius Maximus),in:Wilhelm Schlink – , 8, 1960, pp.287–299.Výjevy z římskéhistoriev prostředíčeskérenesance,Umění , 8,1960, II, SadelerII, Aegidiush andFlemishEtchings, SadelertoRaphael EngravingsandWoodcuts ca.1450–1700, XXII. 28 29 The Golden Hall features the following scenes in order: Romulus and Remus and Romulus order: in scenes following the features Hall Golden The The vaults also feature female personifications of the four seasons, medallions underlies the whole painted cycle of strong women winning women strong of cycle painted whole the underlies Weibermacht 30 The aristocratic milieu of the Early Modern era saw the ideal ruler as ruler ideal the saw era Modern Early the of milieu aristocratic The 26 Ab 27

32 Looking for Leissure men inordertostimulatefemalefertility. recommended that the parts of the house where women reside should contain depictions of respected and brave bedroom can be seen as a remnant of the medieval practice reflected in the treatises of Leon Battista Alberti who Polyxenas’s of decoration the for plan Vilém’s rule. its and family the of continuity express to meant were year seasons the of cycles the where villas the Medici late-Renaissance in found be can of iconography similar birds; water the and personifications the by also but cupids of figures by represented is force procreative the room hunting-nature character also reflects its role as a nuptial residence and its natural-fertility aspect. In Polyxena’s its with Kratochvíle that possible therefore is It lineage. family the maintain to chance last the meant Polyxena coats of arms appearing throughout the whole residence. For the aging Vilém of Rožmberk, his new marriage to can also be connected with the nuptial character of the residence apparent in Vilém’s and Polyxena’s associated demands projected into female space in an era which considered women as inferior. male of expressions are virtues These Lucretia. as such models feminine contains iconography the where well, as apartment Polyxena’s in depicted were virtues Roman that surprising not is It family. Orsini Roman the via connected with the Rožmberk family legend, according to which the family lineage reaches as far back as Aeneas be also can program this of character Roman The ruler. and aristocrat moral a as identity Rožmberk’s of Vilém construct and represent visually to is which of goal the ethics Rožmberk of program a decoration of kind call this can We virtues. of personifications the with connection their and history Livy’s from examples moral the 40 38 36 35 34 33 32 41 39 37 an ideal‘Lustgarten’,apalazotto’. a similar vein, Joseph Furttenbach, reflecting the late-Renaissance tradition, calls such a building, surrounded by 31 principles. moral on based and by validated is power whose nobleman a palazzo nel parcho’. nel ‘palazzo as building central the described Matthias, Emperor of court the at legate Mantuan the Sorina, Claudio 1614 In residence. the of centre social the formed which floor second the on halls festive the for used also term a ‘palace’, a as to referred was it often Most designations. different carried itself building central this since matters complicates further it inside building residential a contains that compound a is Kratochvíle sometimes referred to as a ‘’, ( a as to referred sometimes (Bau contemporaries themselves used a diverse array of terms to describe it. The most common was simply ‘building’ and owners its for mean and builders Kratochvíle’s use? we should term residence What categories? art-historical of terms in it define we can how the did What question. principal a remains Kratochvíle of definition The Kratochvíle’s TypologyandtheIntentofitsArchitecture storie, weremoresuitable,aswasrecommendedbymanyauthors,includingGiorgioVasari. of the villas, which are connected with nature. For the more important or dignified public places, serious themes, areas entrance the as such spaces, secular formal less the of adornment the in especially Renaissance purpose’, and meaning levels. different the on genre different a employing theorists such by as Gian meaning Paolo Lomazzo of saw the hierarchy mythological and a nature-inspired scenes constructs as carrying it a ‘conventional as

Ibid., pp.5 oeh Furttenbach, Joseph Pánek –Březan(seenote1),p. 4 Frau beiHofeinSpätmittelalterundfrüherNeuzeit,Stuttgart2000,pp.110–113. Sus advitam.Knihak poctěIvoHlobila,Prague2012,Dalibor Prix(eds.),Artem pp. 455–468. Ondřej Jakubec,Etic Werner Paravicini–JürgenVoss (eds.),Les princesetl´histoireduXIV Rainer A.Müller Pánek –Březan(seenote1),p. 4 Quoted fromK T Bůžek forthisinformation. (ed.), Venturini Elena 460. p. Ibid., himann (seenote25),pp.70, 76, 88–89. 84, The complex adornment of Kratochvíle described above closely corresponds with Renaissance art theory, art Renaissance with corresponds closely above described Kratochvíle of adornment complex The in German), in anne Kress, Frauenzimmer der florentiner Renaissance und ihre Ausstattung, in:JanHirschbiegel – undihreAusstattung, anne Kress, FrauenzimmerderflorentinerRenaissance Werner Paravicini(eds.),DasFrauenzimmer. Die 42, 544–545, 551. 42, 544–545, ubeš (seenote19),p.272. , HistoriaalsRegentenhilfe.Geschichte Grell– alsBildungsfach in:Chantal indeutschen FürstenspiegelndeskonfessionellenZeitalters, 35 ký programvýzdobyrožmberskévilyKratochvíle jakosymbolický obrazmanželskéctnosti,in:HelenaDáňová–KláraMezihoráková , Ulm 1628, p. 34, fig. 13. Architectura civilis , Ulm1628,p.34, , Milan2002,pp. 609–610. IthankProf.Václav cesareaeMantovaLe (1559–1636) tralacorte collezioniGonzaga ilcarteggio

or ‘the Kratochvíle building’. Kratochvíle ‘the or 65. 60. 41

in German) in Burg 33

36 ‘Kratochvíle chateau’ was also common. also was chateau’ ‘Kratochvíle 38 e auXVIII

in German). in (Feste manor’, ‘fortified a and e , Bonn 1998, pp.359–371. 1998, siècle, Bonn 31 In Kratochvíle, this is illustrated by illustrated is this Kratochvíle, In 32 The choice of iconography 34 37

However, it was it However, 39 The fact that fact The 40 In

33 Looking for Leissure Vienna, the Hofburg. the Vienna, in the vicinity of Vienna, even though, unlike Kratochvíle, they existed in close proximity to the imperial seat in on century sixteenth the from built were which others) and Favorita Laxenburg, Kaiserebersdorf, Neugebäude, inspired by the ‘residence landscape’ of imperial secondary residences (such as the ‘grüne lusthaus ’ type, including to structures built most often in gardens or parks and subsidiary to the main residential building. residential main the to subsidiary and parks or gardens in often most built structures to ‘pretty summer house with a beautiful garden’. beautiful a with house summer ‘pretty residence, Château de Bussy-Rabutin, and in his description of royal it French distinguished the the palace visited itself (zámek) Vok from the Petr 1563, in Netherlands the to travels his during that case our for interesting be 50 49 48 47 46 45 44 43 42 as a hunting lodge but also featured a sophisticated artificial garden, reflecting the new aristocratic ideal of newaristocratic the reflecting countryside. the garden, in time free artificial spending sophisticated a featured also but lodge hunting a as this Torgau, in residence main Friedrich’s from kilometres twenty Almost type. architectural Elector Fridrich the Wise in Lochau, dating to the beginning of the sixteenth century, may represent this specific pan-European courtly the model of representing moving or between primary ideal and secondary Italian residences. The the Annaburg villa imitating of common, Saxon more became residences recreational complementary zámek ( a as Kratochvíle classify authorities heritage Czech incompatibility. geographical and linguistic to due largely Gartensaal, residences, serving as satellite structures. Other terms that are related to summer house (Sommersaal, self-sufficient residence. Classical summer houses usually lack this autonomy, as they are related to other, larger the of logic and autonomous an as architectural Kratochvíle of complexity and the independence architectural the reflect to with failing building, correspond not do German ) in (Lusthaus house summer or casino as such country or house house, seem manor to be a better option terms, for a residential structure without general a defensive function. The more the subtle terms and fitting quite not is English sixteenth-century and present-day for the demonstration of power, while at the same time expressing the owner’s territorial dominance. backdrop suitable a provided they country, the to life urban of comfort the transferring By self-representation. among Polish aristocracy and royalty (see, for example, Woła Justowska and Łobzowie near Kraków, villa in villa in residence bishop’s Kraków, the or Wielki near Księt Łobzowie and Justowska Woła example, for (see, royalty and aristocracy Polish among was built in 1612 outside Salzburg. In sixteenth-century central Europe, similar country residences were popular life and ‘noble relaxation’, ‘noble and life village ideal the of topoi classical the to related terms metaphorical almost in Kratochvíle describe to possible as such or terms Lustgebäude the environment, transalpine the in generally and German, In function. practical building’s the to referring latter the environment, its and life of quality high the expressing former the apt, more seem lodge luoghi di dilletto’). di (‘luoghi pleasure of places as to referred also were which mid-fifteenth century, for example the ‘hunting villas’ of Sigismund of Austria in the surroundings of Innsbruck, mentioned legateSorina. above- the by century seventeenth the of beginning the at Kratochvíle with connection in used was dilletto’, di

according tothe1519Repport ofHansHerzheimer, in:Chatenet(seenote10), pp. 159–166. Stephan Hoppe,Anatomyofan Early‘V , Princeton 1991, p.9. Rome, Princeton1991, Holberton, Paul John Fleming–HughHonourNikolausP Renaissance “...einemirdischen derdeutschen Untersuchung Paradeißzumvergleichen...” zueinerBauaufgabe DasneueLusthausinStuttgart. Weber-Karge, Ulrike Ferdinand I. (1587–1609), in:WolfgangFerdinand I.(1587–1609), Liebenwein– Anchise Tempestini (eds.), Gedenkschrift pp.375–385. fürRichard Harprath,Munich –Berlin 1998, Matthias Quast, DieMedici-V  , Warsaw pp.187–196, 2009, esp.p.188. Residences c. 1600–1800 Villa. (ed.),The Suburban andCountry Arciszewska Herbert Karner St Lippmann (seenote1 Quoted fromJaroslavPánek, Historical terms for Kratochvíle are numerous and the present-day terminology seems equally complicated, The Rožmberk residence is not the only one of its kind. In Europe, places of rest began to appear after the after appear to began rest of places Europe, In kind. its of one only the not is residence Rožmberk The anisław Mossakowski, LeresidenzenobiliaridicampagnanellaPolonia delCinqueeSeicento,in: Chatenet(seenote10),anisław Mossakowski, pp. 317–328. Gartenpavillon, belvedere, casino, or garden house) , Sigmaringen 1989, p.9. , Sigmaringen1989, , The HabsburgCountryResidencesaroundVienna intheSevententhCentury andtheirRelationshiptotheHofburgPalace,in:Barbara , London 1990, pp.173–178., London1990, Palladio´s Villas. LifeinRenaissanceCountryside –DavidR.Coffin,GardensandGardeninginPapal in German and château as usually translated in English). However, the word château in both in château word the However, English). in translated usually as château and German in imply the buildings’ independent character as a free-standing structure. free-standing a as character independent buildings’ the imply Lustschloss 0), pp.302–305. 49 These residences were not meant simply for relaxation, they also embodied the need for need the embodied also they relaxation, for simply meant not were residences These illen alsSpiegel frühabsolutischer Herrschaft. derVillenarchitektur Beobachtung zurInstrumentalisierung unter Großherzog , Prague 1996, pp.57–58. příběhPetraVokaPoslední Rožmberk.Životní , Prague1996, 45 such as the somewhat later term later somewhat the as such illa’ inCentralEurope.The ElectorFrederick Schloss theWise andGardenoftheSaxon inLochau (Annaburg) evsner, The p.99. PenguinDictionaryofArchitecture andLandscapeArchitecture, London1999, 47 The garden villa Hellbrunn, a much later analogue of the Italian villa, Italian the of analogue later much a Hellbrunn, villa garden The

Brok), 44 More general English terms such as pleasure house or hunting or house pleasure as such terms English general More as well as among wealthy bourgeoisie. wealthy among as well as gran luogho ‘gran term, such One plaisance. de maison 42 express the same ancillary character, referring 46 From 1500 on, similar independent and independent similar on, 1500 From 48 Kratochvíle was likely was Kratochvíle served Lusthaus Gartenhaus, 50 43 The same It might It It is also is It

34 Looking for Leissure may have been involved with the design of Kratochvíle. of design the with involved been have may Strada that indicating men, two the between contact of history long the of culmination the Rožmberk, of Vilém to Architecture of Book Seventh Serlio’s Sebastian of edition his dedicated Strada 1575 In time. that before even château Bučovice the of project architectural whole the with on consulted contacts Strada and Jan close that possible Boskovice’s is it of Vienna, Jan to regards With château. the of program iconographic remarkable the XIX or IX). or XIX just this kind of residence. Vok’s graphic prints probably resembled those produced by Jacques Androuet du Androuet Jacques by whose Cerceau, produced those resembled probably prints graphic Vok’s residence. of kind this just did not include this passage about ; the addition comes from Strada himself. Strada from comes addition the palaces; about passage this include not did text original Serlio’s noblemen’. and princes for countryside the in built be to ‘palaces for designs with dealing 54 52 59 58 57 56 55 53 51 1568. after garden, its with together second The analogical example 1560s. is the the Neugebäude, the imperial of villa (Lustgebäude) end of Maxmilian II the near Vienna. at It was built, building began Boskovice from Černohorský Šembera Jan which South Moravia in château Bučovice the in appears also layout This entrance. the of direction the in off-centre, slightly were built into the encircling wall. Within this architecturally framed garden complex, the central palace stands above, descriptions pavilions and compound the symmetrical the form; from compact time same evident the at and As complex very a form. has Kratochvíle and function residential of terms in similar are surroundings feature is apparent in Kratochvíle, whose luxurious programmatic decoration reflected the owner’s social status. collaboration between several persons. Strada’s role was undoubtedly that of an artistic advisor artistic an of that undoubtedly was role Strada’s persons. several between collaboration of practice with traditional the from corresponds resulted likely interestingly, buildings these All which, foundations. Neugebäude’s begun the of laying had the construction château’s the after well place took in Bučovice sojourn His Strada. and Bučovice and Kratochvíle both between connection the on certainty absolute with (hunting lodges or summer buildings houses, pleasure and of type Lustschlösser) the provided tasks, the building conventional opportunity other for than architectural More art). experimentation northern-Italian of exception the (with knowledge limited very had Habsburgs the which of prototypes, Italian from directly style Italianate recent study, Dirk Jansen convincingly shows that sixteenth-century art in the Habsburg court did not derive its during his travels in the Netherlands in 1562–1563, milieu this of knowledge extensive acquired had Vok Kratochvíle. of construction the on Vok, Petr brother, his consulted Rožmberk of Vilém that know We . water French-Netherlandish of milieu the from come have Neugebäude. In late 1583/early 1584, he spent several months in Bučovice in months several spent he 1584, 1583/early late In Neugebäude. the of designer the likelihood all in is He Strada. Jacopo architect and advisor, art antiquarian, the person: one related toStrada’sNeugebäude. formulate the main idea of the project. Both Bučovice and Kratochvíle share the same layout which is also clearly h dsaae ore o isiain sd o rae hnig eiec wr i fc qie intricate. quite fact in were residence hunting a create to used inspiration of sources disparate The forms, was originally French and later moved into the Italian peninsula at the beginning of the sixteenth century.

aolv Pánek, Jaroslav 1. Le Traité siècle,Lyon UnegrandeenterpriseéditorialeauXVIe pp.176 Serlio. d’Architecture 2004, deSebastiano –193. àLyon. Architecture Serlio &Imprimerie (ed.),Sebastiano Stradaàsonpère,in:SylvieDeswarte-Rosa parJacopoStrada,andLaletterd’Ottavio César , Münchenzweiten Hälftedessechzehnten –Berlin1987. Jahrhundert –Karner(seenote49). , Prague 1998, pp.229–235,esp.p. 231. PragueandtheWorld, Prague1998, (eds.),RudolfII, –IvanMuchka Bukovinská Lietzmann (seenote51),p.18 Dirk JacobJansen,LerôledeStradacommeéditeurduSettimo LibrodeSerlio:Lecat B id Lietzmann, Hilda S Kratochvíle f. 9v. , Paris1582, as well.SeehisLivred´architecture de IaquesAndrouetduCerceau W 2010 September Proceedingsoftheinternationalconference Prague22–25 von Aachen inContext. , Prague2012, p.175. Dirk JacobJansen,T London 2001, note76. p.544, V Sebastiano Serlio on Architecture II. Books VI and VII of´Tutte and VII VI Books l’opered´architettura onArchitectureaughan Hart–Peter etprospetiva´,NewHaven– II. Serlio Hicks (eds.),Sebastiano abine Frommel, L´Italie de la Renaissance, ducasinodicaccia alarésidencedechasses, inn:d´Anthenaise–Chatenet (seenote16),p.292. delaRenaissance, abine Frommel, L´Italie , Brno2003,p.20. andothers.,ZámekBučovice ohumil Samek Kratochvíle’s individual sources of inspiration deserve closer attention. Only two buildings in the immediate rtcvl’ bidr de isiain rm eea sucs Fr xml te oi o te ot could moat the of motif the example For sources. several from inspiration drew builders Kratochvíle’s hen describing model IX, duCerceauemphasizesthat despitethelack ofspace, the residenceprovidesenough roomandcomfort,whichhen describing model IX, applies to 58 Moreover, the model of hunting culture, in terms of both hunting techniques and architectural and techniques hunting both of terms in culture, hunting of model the Moreover, Poslední Rožmberkové. pp.119–124. Velmoži českérenesance,Prague1989, Das NeugebäudeinW Livre d’architecture Livre aste and Thought: Jacopo Strada and the Development of a Cosmopolitan Court,in:Lubomír Konečnýaste andThought: –ŠtěpánVácha JacopoStradaandtheDevelopmentofa Cosmopolitan (eds.),Hans 0 –DirkJacobJansen,The CaseforJacopoStradaasanImperial Architect Private,in:Lubomír Konečný –Beket Sultan Süleymans Zelt – Kaiser Maximilians II. Lustschloß. Ein Beitrag zurKunst-undKulturgeschichte Lustschloß. EinBeitrag der ien. SultanSüleymansZelt–KaiserMaximiliansII. 56 51 (1582) contains designs with a ground plan similar to Kratochvíle (e.g. plate (e.g. Kratochvíle to similar plan ground a with designs contains (1582) It is hardly a coincidence that all the three buildings are connected with connected are buildings three the all that coincidence a hardly is It 57 bringing back a number of prints which could have depicted

53 Strada’s edition of Serlio’s treatise contains a passage a contains treatise Serlio’s of edition Strada’s alogue d’éditeurdeJacopoStrada,L’édition de desCommentaires 52 and could therefore have influenced have therefore could and 54 However, we cannot rely cannot we However, 55 who would who 59 n his In

35 Looking for Leissure Wittelsbach MunichandHabsburgVienna. eclectic formsresultedinincreasinglymagnificent, independentbuildings. type of the hunting lodge or villa generally tended towards greater autonomy, and the various idiosyncratic and architectural the century, sixteenth the of half second the In practice. residential its and society aristocratic of architectural forms and motifs reflect the diverse social and cultural norms across Europe, asof variety wellThe task. building asthis to solutions of thearray an offer structure Ferrara near Belriguardo or Stupigini Prague), in Palace Summer (Star Hvězda of the Monte, del type Castel Pratolino, Chambord, general as such rather Examples champs. de the maison with accurately more corresponds it forms, functional and architectural villa, other the and chateau, the between crossover a As potential. creative unusual presents the residence architecture, country Modern hunting Early In gentleman. cultivated and warrior, hunter, a as aristocrat the ideal conveyed an of programs image decorative late-Renaissance these model, Franco-Italian the with correspondence In these villas manifested their owners’ power and sophistication encoded in the elaborate iconographic programs. villa Roman ancient the of world, outside the from isolation Arcadian ideal offering from Aside independence. and solitude on emphasis the its and restoring also while festivities, and meetings including activities, social these cases,thevillas’huntingcharactercombineswithitsroleasastatussymboland asabackdropfordiverse Kratochvíle, for example, was built fifty kilometres from the main Rožmberk residences in Bechyně, Český in residences main Rožmberk travel. the day’s one within accessible Třeboň, and Krumlov from kilometres fifty built was example, for Kratochvíle, and financial position of the owner. They were autonomous but within reach of the main aristocratic residences. with theNeugebäude. connected functionally was which Vienna near residence Habsburg a Kaiserebersdorf, in example for well, as 66 69 68 67 65 64 63 62 61 60 and new forms. areas and owned several country residences. The transalpine villa, transalpine The residences. country several owned and areas larger over ruled nobility the where milieu, transalpine the of conditions specific the account into take not does main residences. main the as dynamic socially and luxurious as were they time, same the At relaxation. for space a with aristocrat the provided and structure residential the of part important an domains, particular their within formed, residences satellite These (Nebenresidenzen). dwellings alternative as residences these regard can we Kratochvíle), at as (such living of standard high the and use year-round the of Because structure. this in play to role important an had villa The capitals. provincial the of one in or capital royal the in palace a and countryside, the in power of the larger residential structure of an aristocratic dominion, which was formed by the main residences as centres the case at La Magliana, the pope’s hunting villa, hunting pope’s the Magliana, La at case the also was as self-representation, for demands the with lifestyle informal comparatively a connected Kratochvíle attached to a larger residence. house It summer is a possible it to was see nor it territory, as feudal a of variation centre of administrative the an Italian of suburban sense villa, the in house manor a not was Kratochvíle it? inhabited and it built who people the for residence the of role the was What questions. semantic water castles, such as Wasserburg which resembles Kratochvíle in its layout.

173. Marco DezziB , Brno 1998, pp.149–150. vědecká, Brno1998, konferenceHistorie1997 Jiří K K I thankDr p.564. , Horn1999, LIV Band T Frommel (seenote 5 Brunon (seenote 16),pp.219–24 Klingensmith (seenote6 pp.65–66. 1993, S Jansen (seenote5 Die Kunstdenkmäler der Stadt St. Pölten und ihrer eingemeindeten Ortschaften. Österreichischeomas Karl–HerbertKarneretal.,DieKunstdenkmälerderStadtSt.Pöltenundihrereingemeindeten Ortschaften. Kunsttopographie rčálová (seenote6),p.38. , Chicago–London amuel JohnKlingensmith,The 1600–1800 UtilityofSplendor. ofBavaria, Life, andArchitecture Ceremony, attheCourt Social The role hunting played at Kratochvíle opens up possibilities for further investigation. As a hunting lodge, hunting a As investigation. further for possibilities up opens Kratochvíle at played hunting role The In addition to questions about its origins and architectural sources, Kratochvíle also raises sociological and ubeš, „Tehdáž, studentská kdyžvobořepředmorembytnostíjsembyl“.Zásobování letohrádkuKratochvíle in:Celostátní vletech 1592–1602, . AndreasKusternig fromVienna forhishelpfuladviceandrecommendations. 5,1971, edDonatoBramantenellafabbricadellavillapapaleMagliana, L´arte ardeschi, pp.111– L´operadiGiovannidaSangallo 60 Kratochvíle might be also influenced by local, central-European, and especially Lower-Austrian 64 6), pp.172–173. 9), pp. 290, 308. 9), pp.290, The size of these dwellings and their number was always directly proportional to the power the to proportional directly always was number their and dwellings these of size The 4), pp.66–67. –Karner(note49). 62 7. 66 67 or some of the Medici villas, notably Pratolino. notably villas, Medici the of some or 65 Similar arrangements existed in the surroundings of surroundings the in existed arrangements Similar or Lustschloss 69 61

Moats can be found in other places , complemented Lustgebäude, 63 but this approach 68 In both of both In

36 Looking for Leissure aptly as a ‘powerhouse, a place not of retreat but of attack’. An effective tool for legitimizing power, legitimizing for tool effective An attack’. of but retreat of not place a ‘powerhouse, a as aptly a as type villa the defines approach cultural-socio-historical contemporary the 74 73 72 71 70 aristocrat’s identity. different configurations of meanings to different recipients, employing diverse waysconveyed ofdecorations mirroringThe and stagingvisitors. the and inhabitants of life daily the and rituals festive both with connection in rhetoric performative of methods used residences aristocratic of decoration The communication. of means a as perspective introduces a further semantic level that is important for the artwork’s interpretation, namely its role complex architectural work but also a a only social not phenomenon is and villa a Rožmberk symptom the of that a shows particular here historical presented situation. been This has decoration and architecture the way The Facit: SemanticandInterpretiveLayersoftheVillaKratochvíle several differentlevels,‘therearemeaningshiddenbehindtheveilofstories’. on explained be can motifs some nostro ’), senso (‘il frame interpretive main the from aside that suggests himself Vasari However, interpretation. above the supporting unambiguously scenes, these for explanation additional treatise, Vasari’s family. his general and a de´Medici as interpreted Cosimo rightly of been celebration has scenes of array The Florence. in Vecchio Palazzo the of decoration building was not only to evoke emotions but mainly to convey the intended message. adornment followedthetraditionalrhetoricofEarlyModernarchitectureanditsdecoration; thepurposeof Kratochvíle’s of form the and iconography the both in encoded line semantic main the Still, layers. its stimulating of more intellectually and decipher or configurations visually semantic villa’s the a of part one with only perceive either them could viewers The providing experience. program decorative its of aspects different to ethical principles and the procreative powers of marriage. The inhabitants and visitors of the villa were exposed the accentuating symbols nuptial the and subtext; mythological and moral the by supported self-representation function; the villa as social-status symbol demonstrated by the luxurious decoration; the familial and aristocratic poetry placed within the natural context of the villa; the straightforward hunting imagery connected with the villa’s ideal objectofstudy. an represents aspects different its all with Kratochvíle such, As phenomenon. socio-historical concentrated a is hfe i te ore f hi ceto ad e smni lyr add o hm Fr xml, h recent the experience. intellectual example, and visual strong a evoke For them. to added layers and that the plethora semantic of scenes, figures, motifs, and juxtaposed meanings new was meant tointentional surprisewas the spectatormeanings and and of layering this that shows Fontainebleau creation in I Francis of gallery the their of interpretation of course the in shifted these programs is the result of a design process reading in of which way the one meaning than of more these is decorations there was That literature. often art-historical purposefully contemporary by ambivalent semantically

1800 Joseph Connors, T Schlaun, 1695–1773.Schlaun, Architektur pp.612–621. desSpätbarock inEuropa , Stuttgart1995, Carsten-P , Aldershot2000,pp.189–196. Renaissance Art Paola T Margaretha RossholmLagerlöf, Ibid., pp.21–92,23 Kratochvíle’s halls offer similarly diverse semantic configurations: the sensually playful world of Ovidian of world playful sensually the configurations: semantic diverse similarly offer halls Kratochvíle’s There are many aristocratic or ruler’s residences that feature decorative systems that may be considered be may that systems decorative feature that residences ruler’s or aristocratic many are There , Warsaw pp. 271–273, 2009, herep.271. inagli, The IdentityofthePrince:Cosimode´Medici,GiorgioVasari andthe Ragionamenti,in:MaryRogers(ed.),FashioningIdentitiesin eter Warncke, RhetorikderArchitektur inderfrühenNeuzeit,in:Klaus Bußmann –FlorianMatznerUlrich Schulze (eds.),JohannConrad The Baroque Villa. Suburban and Country Residences c.1600– Villa. (ed.),The Villa: Suburban andCountry Baroque Arciszewska he Baroque Concluding Remarks,in:Barbara 6–238. 70

Fate, Glory, andLove Vizualizing SupremePower inEarlyModernGalleryDecoration. , Farnham2013, pp.233,238. 71 Another example of this tendency can be found in Vasari’s in found be can tendency this of example Another pbihd n 58 provides 1588, in published Ragionamenti, 72 or even more even or Herrschaftszeichen 73 It is hardly surprising that 74 the villa the

37 Looking for Leissure Photo: O.Jakubec památkový ústavČeskéBudějovice. the viewofNetolice,oiloncanvas,1686,Národní 1. JindřichdeVeerle,Kratochvílevilla,detailfrom

38 Looking for Leissure v politickém okresuPrachatickém, Prague1913 From: F. Mareš–J.Sedláček, Soupispamátekhistorických 2. Ground-planoftheKratochvílevilla complex.

39 Looking for Leissure Photo: O.Jakubec 3. Kratochvílevilla.Viewofthecentralvilla, 1583–1589.

40 Looking for Leissure Photo: O.Jakubec the entrancetower,1583–1589. 4. Kratochvílevilla.Viewofthecentralvilla with

41 Looking for Leissure Photo: O.Jakubec painted (‘staircasetower’). 5. Kratochvílevilla.Viewoftherearfacade ofthecentralvillaanditsfictitious

42 Looking for Leissure Photo: O.Jakubec by GeorgWidman(around1590). 6. Kratochvílevilla,entrancehallwithfresco decoration

43 Looking for Leissure Photo: O.Jakubec Antonio Melana(around 1590). 7. Kratochvílevilla,the so-calledGoldenHallwithstuccoesby

44 Looking for Leissure