Creusa, Ascanius, and Aeneas in Renaissance Prague
| dc.contributor.author | Bažant, Jan | |
| dc.date.accessioned | 2022-09-30T10:49:48Z | |
| dc.date.available | 2022-09-30T10:49:48Z | |
| dc.date.issued | 2022 | |
| dc.identifier.uri | http://hdl.handle.net/20.500.11956/175990 | |
| dc.language.iso | en | cs |
| dc.publisher | Univerzita Karlova, Filozofická fakulta | cs |
| dc.subject | Villa Star | cs |
| dc.subject | Prague | cs |
| dc.subject | Renaissaance | cs |
| dc.subject | classical tradition | cs |
| dc.subject | ancient myth | cs |
| dc.subject | stucco | cs |
| dc.title | Creusa, Ascanius, and Aeneas in Renaissance Prague | cs |
| dc.type | Vědecký článek | cs |
| dcterms.accessRights | openAccess | |
| dcterms.license | http://creativecommons.org/licenses/by-nc-nd/2.0/ | |
| uk.abstract.en | This paper analyses the figural stucco in the Villa Hvězda (1555–1563) in Prague, depicting Aeneas with his father Anchises on his back and accompanied by his son Ascanius and his wife, Creusa. In numerous 16th century representations, Creusa always walks behind Aeneas, and Ascanius is always accompanying Ae neas. In the Villa Hvězda, the protagonists of the Flight from Troy are Aeneas and his wife, Creusa. Aeneas carries Anchises on his back, and in front of him, Creusa leads their son Ascanius. This anomaly calls for an explanation, and it may be this, that Creusa allegorically stands for Queen Anne as a model of a pious matriarch of the Habsburgs. | cs |
| dc.publisher.publicationPlace | Praha | cs |
| uk.internal-type | uk_publication | |
| dc.description.startPage | 196 | cs |
| dc.description.endPage | 214 | cs |
| dcterms.isPartOf.name | Studia Hercynia | la |
| dcterms.isPartOf.journalYear | 2022 | |
| dcterms.isPartOf.journalVolume | 2022 | |
| dcterms.isPartOf.journalIssue | 1 | |
| dcterms.isPartOf.issn | 2336-8144 | |
| dc.relation.isPartOfUrl | https://studiahercynia.ff.cuni.cz |
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