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Ausgangssprachen Zielsprachen
Keybot 4 Ergebnisse  www.pubnmes.kralovskacesta.cz
  tvůrci Královské cesty ...  
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Praha, město na křižovatce kultur, byla tavicím tyglíkem vlivů a mnohé stavby všech epoch se vyznačují značnou mírou originality. Umělci i řemeslníci, ať byly jejich dosavadní cesty jakékoliv, se podřizovali geniu loci Prahy a na oplátku dávali městu to nejlepší.
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New impulses for the development of the town lying on the Vltava River had usually been brought by globetrotters coming in with knowledge of French, German or Austrian architecture; however, this does not mean that Prague architecture blindly followed the foreign patterns. Prague, a city on the crossroads of cultures, was a melting pot of many influences and many buildings from all the periods show a certain extent of originality. Artists and craftsmen, regardless their previous experiences, had surrendered to the Prague’s genius loci and had given their best to the city in return.
  Praha - Královská cesta  
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S císařem se v Praze usadil i jeho dvůr a vyslanci okolních zemí, za státními, šlechtickými i měšťanskými zakázkami sem přicházeli vynikají architekti a stavitelé následovaní nejlepšími umělci a řemeslníky.
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The city’s magic lies not only in its landscape setting – extraordinarily beautiful in Prague’s case and unique in Europe – but particularly in the hundreds of years development of streets and public spaces, fortifications, church compounds, aristocratic residences and townsmen’s houses as well as dwellings of craftsmen and peasants. For long periods Prague used to be a quiet provincial town – or rather a small town according to modern criteria – in the mid-18th century there had been only 60,000 people in 3,100 houses living in the Prague quarters and even then Prague was the largest town in the Czech lands and the fifth most populated town in the Habsburg monarchy. Quiet periods were followed by periods of feverish building activity; particularly when Prague temporarily became the Emperor’s residential town. Place of residence of the Emperor of the Holy Roman Empire must have been representative enough to reflect the importance and splendour of the monarch’s power, the residence should have been a picture of heavenly Jerusalem, a symbol of ideal harmony and perfection to which all people’s efforts was directed. The whole Emperor’s court and ambassadors from neighbouring countries followed the Emperor and came to live in Prague, excellent architects and builders followed as well as outstanding artists and craftsmen all came to Prague to win commissions from the state, nobility or townsmen. Life in Prague became a prestigious matter for many and the town’s significance flourished.
  Thun-Hohenštejnský palá...  
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století byl palác jedním z center společenského života pročesky smýšlející šlechty, před rokem 1848 zde sídlil Thunův salon, kde se mj. setkávali pražští umělci se svými mecenáši a zákazníky. Interiéry byly upravovány počátkem 19.
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One of the most valuable peak Baroque palaces in the whole Prague was built for Norbert Vincenc of Kolowrat in 1721-26 by G. A. Lurago and B. Scotti based on a plan by J. B. Santini in the site of five houses. It was designed as a southern section of a Renaissance palace of the Lords of Hradec (Thunovská ulice 25/193). Thun-Hohenstein Palace along with the Morzin Palace standing opposite, is considered to be one of Santini’s masterpieces in terms of palace architecture. The façade is decorated by a majestic portal with two large heraldic eagles from the coat-of-arms of the Kolowrat family and statues of Jupiter with an eagle and Juno with a peacock, all by M. B. Braun. There are two Kolowrat coats-of-arms located below the cornice of the middle window. On the sides of the main entrance there are two smaller entry gates for pedestrians which emphasize the magnificence of the whole façade. This palace was owned by Thun-Hohenstein family from 1768. In the first half of the 19th century it became one of the centers of social life for the pro-Czech nobility, before 1848 the Thun salon was based there where Prague artists met with their patrons and customers. The interiors were adapted at the beginning of the 19th century, the central staircase based on a plan by J. Zítek with paintings by F. Ženíšek a J. Tulka is from 1870. In 1924 the palace was bought by the Italian government, in 1937 it underwent a reconstruction and now the Italian embassy is located there.
  Obecní dům - Královská ...  
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Na výzdobě Obecního domu pracovali nejvýznamnější čeští umělci doby, pro které bylo otázkou prestiže a cti se projektu účastnit; patřili k nim M. Aleš, A. Mucha, J. Mařatka, F. Ženíšek, J. Preisler, J. V. Myslbek, M. Švabinský, K. Špillar, F. Hergesel, L. Šaloun, J. Pekárek, B. Kafka, J. Mařatka, F. Uprka a Č.
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The Municipal House, also known as the Representative house of the City of Prague before, was built in 1905-11 by Prague municipality based on a project by architects A. Balšánek and O. Polívka, with the idea conceived by then the most important Prague Czech association Měšťanská beseda. It is a prime example of Prague Art Nouveau style. The choice of location for this representative public building with exhibition rooms, halls for concerts and social events and also with a restaurant, bar, wine cellar and a coffee house, in the period of growing Czech self-awareness was no coincidence – it stands on the site of the demolished Royal Court, an ancient residence of Czech kings. This extensive complex has a floor plan in the shape of an irregular parallelogram and is formed of four periphery wings which enclose a built-in wing with the Smetana concert hall for 1500 people, the central part of the whole building. The majestic main entrance is decorated in Art Nouveau style and dominated by a lunette mosaic Homage to Prague by K. Špillar and a grou of statues by L. Šaloun called the Humiliation and the Rebirth of the Nation. The most striking feature of both front wings are the tall, semi-circular windows on the first floor with balconies. The interior is made of a number of halls, rooms and restaurants with a rich Art Nouveau decoration, the equipment and furniture is also inspired by this style. Decorations of the Municipal House were done by some of the most prominent Czech artists of that period for whom it was a matter of prestige and honour to participate on this project: they included M. Aleš, A. Mucha, J. Mařatka, F. Ženíšek, J. Preisler, J. V. Myslbek, M. Švabinský, K. Špillar, F. Hergesel, L. Šaloun, J. Pekárek, B. Kafka, J. Mařatka, F. Uprka and Č. Vosmík. The whole building was not only an example of unprecedented artistic and craft skills and qualities but also represented a true technical wonder of that time: among other things, there were 28 hydraulic and electric elevators, air-conditioning system with a remote control, a central vacuum machine, a tube mail, a modern telephone switchboard, kitchens with the latest equipment and also the floors were covered with then brand new linoleum.