Chateau Kratochvíle 9788085033380

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Chateau KRATOCHVf LE

Chateau

KRATOCHVf LE MlLENA HAJNA - PETR PAVELEC - ZUZANA VAVERKOVA

NATIONAL HERITAGE lNSTITUTE CESKE BUDEJOVICE

2011

The publication was released as a part ofthe NAKI -DFJ JPOJOW026 scientific and research project ofthe Czech Ministry of Culture.

CONTENT • KRATOCHVfLE

Proofreaders: PhDr. Zdenek Troup PhDr. et PaedDr. Ales Stejskal, PhD.

Vil em of Rozmberk

[13]

Baldassare Maggi of Arogno

[18]

Game preserve

[29]

CHATEAU INTERIORS

•

•

The cover features photographs of the Golden Hall Cupid and the Golden Room interior of Kratochvile Chateau; photographed by Ales Motejl, 2011. The endpapers feature a photograph of the vault in the Golden Hall in Kratochvile Chateau; photographed by Michal Tuma, 2011.

[9]

[39]

Entrance Hall

[43]

Hunting

[47]

Courtier Room

[49]

Jan Zrinski's chamber

[55]

Jan Zrinski of Zrin

[57]

Bath

[61]

Bathing and hygiene in the Renaissance period

[63]

Bedroom and chamber of Chamberlain Hagen

[64]

Chamber with arms

[66]

Preparatory chamber

[69]

Upper Hall

[71]

Rozmberk music

[73]

Laboratorium

[75]

Petr Vok's anteroom

[77]

Petr Vok's chamber

[83]

Petr Vok of Rozmberk

[87]

Petr Vok's study

[91]

Chamber of Vil em of Rozmberk and the Golden Room

[93]

Golden Hall

[99]

Dining

[108]

On the frontispiece is a photograph of the front of the Kratochvile Chateau entrance tower; photographed by Ales Motejl, 2011.

CHAPEL OF THE BIRTH OF THE VIRGIN MARY © National Heritage Institute Ceske Budejovice, 2011 Authors © Milena Hajna - Petr Pavelec - Zuzana Vaverkova, 2011 ISBN 978-80-85033-38-0

Angels of Kratochvile

[113] [119]

J

rm /

,atochvile i, a ptactjul plau filltd with j,ry, a hou"

in a landscape that testifies to the generosity, good taste and sensitivity of Vilem ofRoimberk, a former prominent magnate ofthe Kingdom ofBohemia and ruler in the south ofBohemia. Kratochvile is a Renaissance jewel set in the impressive natural surroundings ofhis domain. Vilem commissioned his building at the time his namesake William Shakespeare was writing a love story in England, the poignancy of which has touched people's hearts across centuries and continents. At the same time in Spain, Cervantes was sending his knight of woeful countenance on an immortal and heroic pilgrimage. This period produced new values, which are, as symbolic messages, inscribed in the architecture of the chateau, its decoration, network ofgarden paths and reflecting water surfaces. Kratochvile is a whimsical retreat from the rush of life, a memory of a sunny Italian countryside; a special, sheltered place, a nearly enclosed paradise on earth where time passes with ease and life only shows its pleasant side. It was not by accident that a love story was central to the creation of Kratochvile. The love ofthe Roimberk ruler for the young Polyxena of Pernftejn is the story ofa search for happiness and the hope that was discovered. The magic ofthe place continually revives the stories offormer chateau residents and the ideas ofits builder, the master Baldassare. The power of Italian inspiration, love stories and joyful energy produced the special Kratochvile atmosphere, protected by the local fauns, angels and Roman heroes, who still have something to say as long as we wish to listen. Vojtech Troup, Castellan ofKratochvile Chateau

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,,,.

KRATOCHVILE

The word kratochvile (entertainment) in ancient Czech evoked pleasantly spent times of amusement, thoughtfulness and relaxation. So it is oflittle wonder that when Vilem of Roimberk asked Emperor Rudolph II to grant official fortress status (the name given to minor mansions in contemporary terminology) to his new hunting chateau near the town of Netolice, he decided to call it Kratochvfle. Vilem modelled the chateau after the residences of Italian and German princes near his main residence in Cesky Krumlov to serve him and his guests for pleasure, the distraction of hunting, and, in his own words relishing and luxuriating, so that he could rest there after tiring diplomatic journeys. The placement of the chateau in a slightly hilly forest landscape with open meadows and numerous ponds near Netolice was associated with the quality of the local hunting grounds, long used by the Roimberks for hunting and chases, and also with the plan of the Roimberk regent, Jakub Krein ofJelcany, who proposed the idea to his lord. The first small fortress with a game preserve was built by Jakub Krein at the same location of the present chateau. In 1569 he received permission from Vilem ofRoimberk for the lifetime use of the Leptic farmyard on the Netolice domain, together with several surrounding villages and pieces of lands. In the place of the farm buildings Krein built a new one, which he ordered to be decorated with wall paintings expressing hunting themes. He also built a minor game preserve for raising deer. In reconstructing Leptac, Krein had his own plans. The parcels of land donated by Vilem stood on the territory of the Netolice domain, and Krein knew that the Roimberks and the Ziad. Koruna Monastery had quarrelled over its ownership for several decades.

He stood to lose his property if the dispute was re-opened and therefore attempted to obtain different holdings than that ofLeptic, specifically the Sedlcany domain in the region of Central Bohemia. He succeeded. When Krcfn showed the results of his construction activity in Leptac to Vilem of Roimberk, the ruler liked the place so much that he obtained it from Krcfn in 1579 in exchange for Sedlcany, and began to build a new hunting chateau there that he called Kratochvile. Vilem of Roimberk probably had the idea of building a country villa of this type in his domain for a long time. He knew buildings of a similar character well from his European trips, where he was ofren invited and entertained by their noble owners. He realised that the ownership of an imposing hunting chateau was perceived in aristocratic society as a sign

View of the villa and the entrance tower over the enclosed moat fro m the west

of refined taste and contributed to the personal social representation of its owner. Vilem of Roimberk had already had the opportunity to get to know the Hackelberg Renaissance hunting lodge near Passau in the 1550s. The lodge was built a few years earlier by Bishop Wolfgang von Salm, who provided it with rugged gardens full of fountains, flowers and water machines. Vilem knew this environment very well, as he had spent his years of study under the bishop's care in Passau in 1544-1550. When he went to propose to his second wife, Sophia of Brandenburg, in 1561 , the Brandenburg elector let him stay in his completed Kopenick Renaissance hunting chateau near the royal town of Berlin. Vilem was also certainly inspired to build Kratochvfle by the new summer residence of Maximilian II. Called Neugebaude, the emperor began construction in 1569, with the considerable interest of the local aristocracy. The chateau, designed for relaxation, hunting and for courtly parties, was built in the open landscape near busy Vienna, and included a large geometric garden with a pond, alabaster fountains, decorative moats and playful water features.

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Vilem of ~imberk (1535-1592) Vilem was religious, fair, abstemious, ... peaceful, not avaricious, and in political affairs he sought nothing more than general welfare. He was especially fond offine arts. He enjoyed building, and due to this hobby he left landmarks behind ... a very expensive and beautiful building in the Neto/ice game preserve, with a new vaulted roofinside, erected on piles due to the soft ground, with bastions inside on all sides, a gate with a tower, and rooms and lodging/or his servants, proper and expensive, as well as a chapel. Vaclav Brezan, Lives of the lase Rozmberks I, 371

~ ilem of Rozmberk was born in Schiitzendorf Chateau

Portrait of Vilem ofRoimberk, circa 1560

in Upper Austria under the sign of Pisces on 10 March 1535, with a Gemini moon. The position of the planets when he was born, according to the strong faith in astrology at that time, affected his entire human life, and blessed him with a responsible, just and enormously devoted character. When he was four, his mother Anne of Rogendorf was widowed and Vilem's uncle, Petr V of Rozmberk, became the guardian of the Rozmberk domain. He made sure that Vilem, as the future heir of the Rozmberk name and heritage, received the best education. Vilem of Rozmberk first studied for a brief period at a private school in Mlada Boleslav. Then he spent considerable time (1544-1550) studying with Wolfgang von Salm, the bishop of Passau. Just sixteen, he declared himself of full age and able to manage the Rozmberk domain when his uncle died. The ancient family origin, a large and economically profitable domain, along with his personal skills, destined him to a rapid social and political rise. Vilem began his career by rehabilitating the Rozmberk family name and, during a dispute with the princes of Plavno, defended the privileged position of the Rozmberk rulers among the Bohemian nobility.

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of the Kingdom of Bohemia, and in 1566 Emperor Maximilian II entrusted him with the command of the Bohemian land forces during the military campaign against the Turks, a conflict in which Vilem lost his brother-in-law, Nicholas Zrinski of Zrin. A turning point in Vilem of Roimberk's life was the year 1570, when he was

Vilem ofRoimberk and his fourth wife, Polyxena ofPern!tejn, 1589

In 1551-1552 he set off with other aristocrats on a journey lasting several months to the Apennine Peninsula to attend the ceremonial arrival of the wife of Maximilian 11, Maria of Spain. Vilem was dazzled by the magnificence and sophistication of Renaissance Italy and inspired by the local architecture and arts. Immediately upon his return to Bohemia, he launched work on the completion of the Roimberk Palace in Prague and the reconstruction of the ancient family residence in Cesky Krumlov. He entrusted this work to Italian building masters, painters, stucco artists and stone-cutters. He also hired Italian artists for the construction and decoration of the Kratochvile hunting chateau within the Netolice domain, built in 1579-1590. From his entry into royal service as a young boy in 1550, Vilem was progressively named to prominent positions. In 1560 he was appointed high chamberlain

Alliance coat ofarms ofVilem ofRoi mberk and Polyxena ofPernJtejn

appointed high burgrave of Prague; from that moment on and for the rest of his life, he acted in essence as the deputy king of the Bohemian lands. Thanks to his sensitive and moderate approach to solving religious issues, he earned esteem and the respect of not only his fellow Catholics, but even opposing Protestant aristocrats. Vilem of Roimberk demonstrated his excellent diplomatic skills in solving domestic disputes and as a member of the emperor's missions, mainly to Poland and Germany. During negotiations in Poland he achieved such fame among the local aristocrats that they wanted to support him for the Polish throne. In 1585, King Phillip II of Spain granted Vilem the prestigious European Order of the Golden Fleece. The profits of the Roimberk domains and new business methods (founding of ponds, aristocratic breweries and manor farming estates), along the payments from flourishing Roimberk towns flowing into the family coffers, enabled Vilem to lead a lavish life, make extensive renovations to his residences and be a patron in the fields of science, music, literature and fine arts. The Roimberk ruler also maintained a large court which, in addition to the ruler's family, included up to 230 courtiers, ladies-in-waiting, clerks, chamberlains, squires, cooks, coachmen and other servants, scholars and artists. Why Vilem enjoed good fortune in his political and diplomatic career, his private life was not as blessed. Although he lavishly wed four times (the imperial Princesses Catherine of Brunschwig in 1577, Sophia of Brandenburg in 1561, Anne Mary of Baden in 1578 and Polyxena, the daughter of his political partner Vratislav of Pernstejn, in 1587), unions that made him a relation of prominent Bohemian, Austrian, German, Spanish, Italian and Polish nobility, he never experienced lasting family happiness, and he never lived to see the heir and Roimberk family successor he had longed for. He died childless on 31 August 1592 in his Prague palace. His brother and the last of the Roimberks, Petr Vok, became the head of the family.

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Being a passionate hunter himself, the emperor established a game preserve near the chateau with a pheasantry, menagerie and aviaries. All the aforementioned summer residences were inspired by the Italian Renaissance architecture Vilem of Roimberk discovered on his journey to Italy in 1551 and 1552. During his short stay in Mantua, it is possible that he visited Palazzo del Te, the charming palace of the ruling Gonzaga family outside the town and completed in the 1540s by architect Giulio Romano. Its creators paid tribute to Antique arts and culture in the layout of the building and in the interior painting and stucco decoration; Vilem of Roimberk later accomplished much of the same at his own Kratochvile Chateau. Geometric precision which is, to a certain extent, architecturally analogical to Kratochvile Chateau, is also seen in the Bucovice Chateau of Jan Cernohorsky of Boskovice, construction of which began in 1567, and also in the Krasny Dvur Chateau of Jan Mast'ovsky of Kolovraty, located near Podbofany, which was completed before 1572. Vilem assigned the architectural design of the project to Italian builder Baldassare Maggi of Arogno, who was also entrusted with the supervision of the construction of the chateau in 1583-1589. Maggi had already demonstrated his skills on earlier construction projects for the Roimberks and the Lords of Hradec. However, Kratochvile Chateau was about to earn a privileged position in his work. At the chateaux in Cesky Krumlov, Bechyne, Jindrichuv Hradec and Tele, Maggi had to respect the former layouts of the noble residences and adapt the Renaissance reconstructions to them. Kratochvile gave Maggi the unique opportunity to use his own imagination to build a totally new chateau in the open countryside, a residence modelled on Italian suburban aristocratic villas. In designing Kratochvile, Maggi demonstrated his excellent knowledge ofltalian and Central European architecture. He succeeded in incorporating the characteristic features of Italian Renaissance architecture into a purely Bohemian environment, and also demonstrated a fine sensitivity in incorporating the chateau grounds into the surrounding landscape.

Garden paths in the chateau premises

View to the garden and villa from the north

'Baldassare 0vfaggi (circa 1550- 1619) of tArogno On the 15 May 1583, Jan Netolicky of Turov, a clerk ofthe Rozmberk domain in the game preserve ofNetolice, built a farm estate around the new two-storey building set on oak and alder piles. Master Baldassare was the master builder. Viclav Brezan, Lives of the Last Rozmberks I, 313-314.

e h e Rozmberk court architect Baldassare Maggi came from the Northern Italian town of Arogno on the border of Lombardy and today's Southern Switzerland near Lugano. In both medieval times and the modern period, Arogno was the birthplace of prominent sculptors, stucco artists and painters who became famous for their art in Italy and Central Europe. Maggi himself worked in Southern Bohemia together with other Arogno natives, his brothers-in-law Antonio and Domenico Cornetta,

Symmetry, rhythm and order - the facade ofthe villa with the alliance coat ofarms of Vilem ofRozmberk and Polyxena ofPernftejn.

and stucco artist Antonio Melana. Baldassare Maggi served the Rozmberks and the related Lords of Hradec in 1575-1590 and, in that time, enriched the Bohemian lands with several extraordinary Renaissance constructions. He was involved in the reconstruction of the Lower Castle in Cesky Krumlov, and also built the elegant round chateau tower with the arcade gallery. Maggi also designed the monumental Krumlov Jesuit student residence hall, which at the time formed an optical counterpart to the building of the Cesky Krumlov chateau. The Italian architect also worked on Vok's chateau in Bechyne, and it is highly likely that he was likewise involved in construction in Tele and Jindfichuv Hradec, where he designed the unique Rondel garden pavilion. After 1590 Maggi returned to his hometown, where he was respected as an esteemed burgher. He and his second wife Catalina were often asked to be godparents to the children of their fellow citizens. Baldassare Maggi was buried in a family tomb located in an honoured place in the Chapel of the Three Kings in the parish Church of St. Stephen. In addition to St. Stephen's, which underwent an extensive reconstruction in the 17'h century, there were also several chapels standing in Arogno during Maggi's time; these buildings dotted the slopes of the surrounding hills, providing the Rozmberk builder a splendid view over his hometown down in the deep valley.

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The construction work, however, did not progress without difficulties. Due to the soft soil, the foundations of the chaceau had to be reinforced from the very beginning with oak and alder piles. Maggi then erected a perfectly symmetrical rectangular two-storey villa, which he did not place in the centre of the composition but moved it to the front of the rectangular garden, perpendicular to the main axis of the grounds demarcated by an entrance gate with a tower, the main palace entrance portal and the central bastion in the rear garden wall. In this way he optically divided the entire space into two symmetrical sections. The symmetry of the entire composition was further emphasised by a decorative moat surrounding the main building on all four sides, a practical feature chat helped the builder conduct the excessive groundwater away from the building's foundation. During the Rozmberk period, the counterpart to the new Kratochvfle chateau was the Krein family's former Leptac building, which Vilem of Rozmberk had architect Maggi reconstruct and incorporate into the new chateau premises in 1582. The Roimberks spent their time in the Leptac fortress during their first visits to the Netolice game preserve until the new Kratochvfle Chateau was completed. Under the rule of the Eggenbergs in the 17,h century, this building was gradually removed until no traces remained. The entire grounds of the chaceau were enclosed by a peripheral wall forming a symbolic barrier between the surrounding wild nature and the internal world of geometrical order and aesthetic perfection. Several residential pavilions, so-called bastions, were built along the wall, rhythmically dividing its interior and exterior surface. The interiors of the bastions were decorated with paintings and provided separate residential units for some of the Roimberk clerks. The operating facilities of the chateau, including a kitchen, pantries and rooms for the servants, were situated in a long building attached to the central side of the enclosure wall along its entire length, interrupted by a high tower gate in the central part, with a distinctly profiled stone portal. Originally, the entrance to the chateau was over a drawbridge across the outer moat through this gate. The builder erected the Chapel

Aerial view of the chateau grounds

View of the villa from the northern enclosure wall.

of the Birth of the Virgin Mary with rich stucco decoration and paintings in southeast corner of the layout. Another elevated garden bastion formed an optical counterpart to the chapel on the opposite side of the entrance tract. A stable for 33 horses with a large hay loft and a barn stood on a gentle slope outside the main chateau grounds. The chateau was supplied by the farm at nearby Petruv Dvur. At first sight the main chateau building gave the impression of a compact rectangular block, the construction of which emphasised, as did the entire chateau grounds, the symmetry, rational order and functionality of the interior layout. The chateau at the time had a ground floor, an upper floor and attic space with rooms for ladies of the Rozmberk court. The layout of the interiors was reminiscent of Italian

Morning in the chateau park

Renaissance villas: the central space of each storey consisted of an entrance hall surrounded by other rooms connected into separate suites. The facades of the villa were decorated with wall paintings that created an illusion of rich architectural segmentation in the form of a spacious gallery with columns, niches and a prominent avant-corps on the rear side of the villa. The building was topped by a broad lunette cornice and a massive truss by Master Merri which was 21 fathoms long and carried an elegant hip roof with dormers and decorative chimneys. The enclosure walls of the garden were filled with windows, niches and painted figures of glamorous warriors from various periods and continents, including Roman, medieval, Asian and American heroes. All this was dominated by the allegory of Fame, a woman's figure with a trumpet announcing joyful news to all about their fame and military victories. During the Renaissance, the figure of Fame was a symbol and personification of human success, repute and fame which can overpower even death. The bastion that once stood on the central axis of

Top ofthe "ftalian"fireplace in the Upper Hall with alliance coat ofarms and the p ersonal motto of Vi/em ofRoz mberk - Hurry Slowly.

Roz mberk rider on the vault of the Golden Hall

the chateau grounds in the middle of the enclosure wall was decorated with the symbol of the chateau owner - the Rozmberk rider on a white horse with a drawn sword. Rozmberk family symbolism was most prominent in the decoration of Krarochvfle Chateau. The alliance coats of arms of Vilem of Rozmberk and his fourth wife Polyxena of Pernstejn, like the Rozmberk coat of arms with a red fivepetal rose, were present on the chateau walls, ceilings of the rooms, mantelpieces, doors and in window recesses as a constant and elegant reminder that all of the beauty created here was for the entertainment, pleasure and representation of a powerful member of the Rozmberk family. The interiors of the villa were filled with stucco decoration and paintings by the painter Georg Widman of Braunschweig and stucco master Antonio Melana with their assistants. These artists mostly used the woodcut themes from the renowned German printmaker Jost Amman, painter Albrecht Diirer and other artists. The painted scenes on the ground floor, in the Entrance Hall of the chateau and in adjacent rooms, recall the main purpose of the building - entertainment during chases and hunts. There are paintings of various hunting and forest scenes and of exotic and mythical forest animals such as a buck, boar, bear, hare and even a camel, baboon, lion, rhino, elephant and a mythical griffin. Georg Widman was inspired by

woodcuts of animals and hunting scenes by Jost Amman, created on the basis of the drawings by Johann Bocksberg that appeared in the popular Thierbuch (Animal Book) andjagdbuch (Hunting Book), which enjoyed a number of printings at the time. The decoration of the ground floor of the chateau had an even deeper dimension; based on selected allegories and stories from Roman mythology and history, it familiarised guests with the human characteristics of the owner, suggesting the secular and spiritual values ascribed to him, as well as his personal wishes and desires. The decoration also reflected the ancient origin of the Rozmberk family and Vilem's extensive knowledge of Antique history and literature. The main subject of the Kratochvfle Chateau decoration was allegories of virtues, represented by female characters that have been preserved at the chateau in two series - cardinal virtues (Justice, Wisdom, Bravery and Modesty) and theological virtues (Faith, Hope, Love) in the upper anteroom. The Golden Hall featured only cardinal features. The artist painted them in the middle of the vaulted space, around the central image of the Rozmberk rider and among of the coats of arms of Vilem's four wives. The stucco decoration was meant to highlight the fame of the Rozmberk family and its role in the defence of the Kingdom of Bohemia and the Christian faith; the decoration also underscored the exemplary life and

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actions of Vilem of Rozmberk and of the refined qualities of his wives. The entire scene was accompanied by additional allegorical female figures typically associated with symbols of good governance - Fame, Abundance, Love and History. The choice of themes from Roman history in the central areas of the chateau could also be related to the alleged ancient origin of the Rozmberk family. Beginning in the middle of the 15'h century, the Rozmberks publicly claimed to be related to the Italian Orsini family and, hence, to the mythical Trojan hero and founder of Rome, Aeneas. According to the events recorded in the History of Rome written by the Roman historian Livy, the decoration of the chateau rooms tells stories that extol famous and honourable acts of Roman heroines and heroes. In contrast, there are also depictions of the wicked and evil acts of others to serve as a warning against the moral failure of man and the unbearable burden of guilt. These stories accentuated the virtues of positive heroes and the personal qualities of Vilem of Rozmberk all the more. The chateau building was built in the middle of an ornamental garden full of vegetation and flowers planted in flower beds in colourful geometric patterns. The garden also included a vegetable and herb section where aromatic herbs for the chateau kitchen were grown along with melons, onions, carrots, buckwheat and hemp. Water for the kitchen and garden flowed to the chateau through artificial man-made channel called Krcfnka after its builder, Jakub Krein of Jelcany. The channel ran from the village of Hrbov and brought water to Kratochvile from the Melhulka Stream through the Dolnf Nadymac and C:ichticky ponds. The channel provided water to the chateau as well as to the fountains and water devices in the chateau garden, the sophisticated mechanisms of which could please a noble visitor but could not stand up to the pragmatic thinking of Rozmberk chronicler Vaclav Bfezan: That year (1586), strange waterworks were built at Kratochvile Chateau in the Netolice game park. These were far too expensive and nothing permanent, simply the result of money swindled by foreigners. The garden and its fountains were richly decorated with sculptures commissioned by Vilem in 1586 in the Austrian town oflnnsbruck.

Garden, villa, chapel

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(jame preserve I announce this to you, my very dear master, that ... one of the bucks is so raging and evil that more than fifty cutters had to run from him to the top of the trees; so I think that he is doing more bad than good to His Majesty, and I fear that he may be the end ofsomeone. Today the buck drove the cutters up the trees and myself to the barn on a horse and, not being able to catch anybody, he lay down in front of them on a meadow and rolled around with enormous rage. He comes to the cobbler's place, pokes his head into the window and screams; it is almost unbelievable how that animal acts. A letter of the Rozmberk hunter Jindrich Homut to Jakub Krein dated 19 September 1582

~ ame preserves were enclosed areas for animals and

Detail ofa wall painting on the vault ofthe Courtier Room. The following double page shows a view of the chateau, game preserve and the town ofNeto/ice by Jindfich de Veerle from 1686.

were intended for the planned breeding, growth and subsequent shooting of mainly deer species. The preserves provided a constant supply of venison for the lord and were meant to improve the enjoyment of the hunting experience due to the high concentration of animals. The Rozmberks had numerous game preserves in their domains; one had been founded earlier by Vilem of Rozmberk near his Cesky Krumlov manor in 1555. Another was founded by Petr Vok of Rozmberk in Cerveny Dvur near Chvalsiny, where he ordered the breeding of pheasant, partridge and quail. The first minor game preserve near the Leptac fortress was laid out by Jakub Krcfn of Jelcany. When Vilem of Rozmberk decided to build the Kratochvile hunting chateau on the site of the former fortress, he was inspired by an idea for a large game preserve, unrivalled in the whole of Bohemia, with ample numbers of wild game. Interwoven with ponds, meadows and forest stands, the landscape surrounding Netolice

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There was also a kennel with greyhounds bred specially for chases. Camels and other exotic animals also appeared around the chateau. Nevertheless, the majority of game in preserve was made up of various deer species. The preserve was tended by foresters, huntsmen, rangers, falconers and hundknechts who looked after the master kennels, all of whom reported to the gamekeeper. The foresters and huntsmen, as well as their subordinate rangers, were the personnel that tended the forest and game; they were also in charge of field chases and often even pond management. They were also to provide information on the condition of the game, shoot vermin, stock haylofts and feed the game in the winter. Their clothing was of grey and green shades to blend in well with the forest environment. Their huntsmen's attire also included a bag, a cane, a small bag for gun powder and a hunting knife. As some of the master huntsmen were trained in playing the horn, their equipment also included this instrument, the sound of which accompanied the lord 's chases.

Detail ofa hunting scene on the Entrance Hall vault and its print model by Jost Amman from 1592.

perfectly met his plans. To achieve his goal, Vilem did not hesitate to buy or exchange land with his vassals in the Netolice domain. Five villages were either eliminated or moved in the building of the Netolice game preserve - Sitice, Rocovice, Horni and Dolni Trebanek and Krtely. Furthermore, 44 farms were vacated. The resulting enclosed area of about 3,000 hectares had a perimeter of around two Czech miles, the equivalent of 22 km. The entire game preserve was surrounded by a wooden fence on stone bedding and with a shingled top. The game inside the preserve was protected and belonged exclusively to the lord. Without the master's permission, no game could be shot, even if it attacked people, devastated their crops or killed their cattle. Poaching and unpermitted hunts were punished by the gallows. To warn the peasants of the neighbouring villages, Jakub Krein had three gallows built around the Netolice game preserve and actually had several poachers executed. The preserve also included an enclosure for rabbits, bird aviaries and a pheasantry where, in addition to pheasants and quails, swans and sea-ducks were bred.

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In 1601, the difficult financial situation of Petr Vok of Rozmberk forced him to sell the Cesky Krumlov domain, including Kratochvile Chateau, to Emperor Rudolph II. Though the emperor never visited the chateau, he expressed his interest in it by commissioning painter Bartolomej Beranek-Jelinek of Cesky Krumlov to paint several paintings with views of the Kratochvile from various sides. The period that followed was not kind to Kratochvile. Nobody visited the exclusive residence, and the buildings became dilapidated. The chateau was plundered during the invasion of Passau soldiers in 1611 and the decoration of its interiors damaged. Not long after the outbreak of the Thirty Years' War in 1622, the chateau, like many other South Bohemian estates, fell, with the emperor's blessings, to the Styrian aristocrat Jan Oldfich of Eggenberg. During the war, the Eggenbergs had to have the damaged interiors, broken windows, destroyed stoves and tile floors repaired. In 1656 they ordered the demolition of Krcin's old Leptic building to extend the chateau garden, leaving the newer building built by the Rozmberks. Only a small remnant was left of Leptic, the residence for the lord's gamekeeper. Additional changes were also made. In 1684 they reconstructed the burnt chateau tower and gilded its top. A flat for the bugler was built in the tower. Two additional symmetrically placed bastions were added to the enclosure walls of the chateau garden. Two houses for Eggenberg performers stood near the chapel in 1678, as art-lovers Jan Kristian of Eggenberg and his wife Marie Ernestina of Schwarzenberg, who began visiting Kratochvile quite often, probably organised theatre performances in the chateau and the adjacent gardens. Marie Ernestina had made some adaptations to the interiors, added a new fireplace, replaced some door portals, door wings and window panes, and several new rooms designated as lavatories were listed. The painted doors of the built-in cupboard in the Golden Room with playful images of exotic parrots and juicy fruits also likely come from the Eggenberg period. In 1686, the Eggenbergs commissioned their court painter, Jindfich de Veerle, to paint a large veduta depicting Kratochvile Chateau with the adjacent pheasantry and part of the game

Door in the Golden Room with Eggenberg heraldic figures

Detail ofan exhibition of Czech animated film - a scene from jiff Trnka's movie Arie prerie

The restorer Mikula Zbiralovd, known as "Madam Painter''. during work on the villa farade in 1976.

preserve. The veduta shows the chateau situated in the open countryside among the recognisable towns ofNetolice, Lhenice and Petruv Dvur, as well as several villages and some neighbouring manor estates. When Kratochvile was taken over by the Schwarzenbergs in 1719, the chateau underwent its most significant change up until then. The original Renaissance hip roof, set on a painted lunette cornice and decorated with dormers and a forest of elegant decorative chimneys, was totally rebuilt in 1762-1764. It was replaced by today's double-ridged mansard roof, which optically divided the chateau into two buildings. The original lunette cornice and the rooms for the Roimberk female servants situated directly under the roof were replaced. Yet, not even these changes enticed the owners to visit the chateau more often. The Schwarzenbergs preferred the new Baroque Ohrada hunting chateau near Hluboka nad Vltavou, or later their summer house in nearby Libejovice. They had apartments for clerks built at Kratochvile, and since the fabulous decoration of the halls did not correspond to the new purpose of the building, the elegant stucco decoration and paintings were painted over or even chipped off. In the 19rh century, the Schwarzenbergs established an orphanage at Kratochvile along with an archive and a museum of artistic treasures of the Netolice and Prachatice domains. The chateau was nationalised after 1922 based on the land reform. In 1926-1933 it was used by the Regional Agrarian Museum in Ceske Budejovice and at the end of the Second World War it served as a depository for artwork from the Ceske Budejovice Museum. In 1950

the chateau was taken over by the National Cultural Commission, which classfied it as a Category I cultural monument with the following ideologically-charged description so typical of the time: High quality Renaissance building surrounded by a contemporary garden enclosed by a wall. Evidence ofthe living standard and lifestyle in the period of economic changes of the IY' and I 6 11, centuries. Proof of artificial isolation from the outside world and withdrawal ofprivate life into a house rich in luxurious art (National Cultural Commission Plan, 1950). The chateau underwent construction and restoration work beginning in the 1950s. This began with the repair of the stucco reliefs, the restoration of the sgraffito decoration and wall paintings, and the stabilization of the building. Between 1981 and 2006 the chateau was used to house an exhibition of Czech animated film, which saw all of its interiors further adapted. The installation of display cases and other objects covered the architectural and artistic uniqueness of the building. A decisive change at Kratochvile took place in 2006 when the exhibition of the animated film collection was terminated at the request of its new owner. The Renaissance Renaissance was conceived and launched at Kratochvile, with the aim of returning the chateau to its authentic appearance while respecting its spatial and artistic value and creating an interior installation mainly reminiscent of the late Roimberk period. The project as a whole was completed in 2011 on the occasion of the four-hundredth anniversary of the death of Petr Vok of Roimberk, the last member of the family.

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CHATEAU INTERIORS

Spiral staircase connecting the individual floors of the villa

The majority of the Kratochvfle Chateau interiors have been preserved to the present day in the form left by the last Roimberks at the end of the 16'h century. Their lifestyle, way of living and forms of entertainment have become the theme of a sightseeing tour that includes the most remarkable interiors of the villa. The furnishings of the rooms have been primarily reconstructed from the period chateau inventories dating back to approximately 1600, and on the basis of detailed architecrural history and restoration studies. The interiors of the Kratochvfle Chateau are organised according to the principles typical for Renaissance residences, which accentuate the social differentiation of its inhabitants, whose worlds were either combined or separated by means of communication channels - corridors and stairways. As was standard practice, the ground floor of the chateau was dominated by the beautiful Entrance Hall intended to acclimate the visitors with its paintings with hunting topics, and put them in the mood for hunting. Other rooms on the ground floor served for guest accommodations or as support facilities for the chateau. There is the Courtier Room where the Roimberk courtiers and clerks dined and gathered, a meal preparation room, bathroom and several additional rooms and chambers needed for the practical operation of the villa. The guests typically did not remain long on the ground floor of the chateau, and ascended a broad imperial staircase to the upper floor, which represented the heart of the entire building. There were rooms designed for all remarkable

Top offireplace in the Entrance Hall with the allegory of Temperance, one ofthe four cardinal virtues.

chateau events and common dining - the Golden Hall and the Upper Hall. The owners of the chateau, Vilem and Petr Vok of Roimberk, also had their rooms on the upper floor. The rooms formed the Italian suite consisting of two rooms with one entrance. The rooms differ both in size and artistic decoration. Both floors of the chateau were also connected by simple spiral staircases stairs that led from the vaulted rooms on the ground floor to the private rooms of the lord on the upper floor, and providing for the quick and inconspicuous movement of servants between the individual levels of the chateau. The stairs were illuminated by retractable glass lanterns. During the Roimberk period, the chateau had a spacious attic with quarters for women. During the lord's stay at Kratochvfle, the attic rooms were occupied by the lord's wife, ladies-in-waiting and their female servants. The lord's wide had a room with a richly painted bed and canopy. Her attendants would sleep in a single room, two to each of the seven or more simple beds. These sleeping arrangements were meant to ensure their integrity and virtue. The exact appearance of the servants' rooms cannot be specified today, as they were completely removed during the largescale reconstruction of the building's roof in the 18'h century. Additional guests

Built-in wardrobe in the Court house place.

could be housed in the guest rooms in the older building of the Leptac fortress. Its capacity was quite large: the inventory of 1588 lists 31 beds with canopies, additional simple beds, including that ofHis Lord Majesty with Damascus curtains. Some of the chateau clerks and servants could use separate dwel lings located in the bastions around the enclosure wall. These included, after 1592, the Roimberk chamber scribe Martin Gejnar of Vevrf, as well as Jindfich Daniel Svare of Semanfn, the Unity of the Brethren court preacher of Petr Vok. All the bastions were decorated inside with rich paintings. The main operational-economic background of the chateau was not located in the central manor building but in a forward entrance tract to the manor premises situated around the entrance gate. There was a pantry, a kitchen and a bakery, rooms for servants and, directly at the gate, another courtier room and additional dwellings for some clerks and servants. In the 1590s, during the Lord's visits, the court marshal Jachym Metych of Cecov, the supreme Roimberk hunter Reinprecht Jan Gerhart Lisvic of Lisvice, and Jindfich Vindr ofVlckovice resided there, as did a secretary, kitchen scribe and others. There were horse stables with a large hayloft and a barn standing beyond the main chateau premises on a moderate slope. Nearby Petruv Dvur supplied the chateau.

ENTRANCE HALL

Above: Elent (elk) horns on chains with brass bars. Left: View to the Entrance Hall. On the fallowing double-page: Detail ofthe paintings on its vault.

The grand hall with a stately Italian fireplace forms the central entrance area to the villa. From there visitors enter adjacent rooms or access the main stairway leading to the Upper Hall of the villa. The walls are covered with a sophisticated illustrative painting of an airy columned pavilion, the vault of which is filled with dynamic hunting scenes evoking the atmosphere of anticipated hunting adventures. The artist, Georg Widman of Braunschweig, adopted the compositions of hunting scenes and figures of individual animals mainly from the woodcuts of Jost Amman, who based his work on the drawings of Johann Bocksberg. Amman's prints were published in the books Thierbuch and ]agdbuch in Frankfurt am Mein in 1592. In the inventories from the end of the 16'h century this area was called the lower hallway, and it contained: 3 dressing tables, 1 long table, 2 Elent (elk) horns on chains with brass bars, 1 ladder to candleholders, 1 stool. The inventory contains a very valuable piece of information about the lighting in this room. The period terminology indicates that there were two chandeliers suspended on chains, combined with antlers.

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Hunting My dearest Lord and Brother! You should know that today I received a letter notifying me ofthe fact that His Majesty, Royal Prince Ferdinand, is arriving to Netolice to visit me on the following Saturday or Sunday. And therefore, so that His Majesty can be served accordingly, and some hunting amusement can be organised, I request that you come to Netolice on Friday night or Saturday at latest. .. A letter written by Vilem ofRoi mberk in 1574

~ or aristocrats, hunting was not only a privilege and an

Hunter's equipment in Chamber with arms

amusement; it was also a test of courage, important physical training and, above all, a remarkable social event. It was also an opportunity for aristocratic showmanship: during the chases and hunting expeditions, nobles could demonstrate their own skills and excellent horses, finely bred hunting dogs and beautiful hunting arms. In the second half of the 16'h century they hunted with cross-bows, daggers, spears and rifles inlaid with mother-of-pearl or ivory. They organised chases after wild game in forests, or hunted in enclosed game preserves using traps and large nets that ensured large catches of deer, boars and hares. They also hunted pheasant, partridge, quail grouse, foxes, wolves and bears. In certain hunts they used birds of prey trained by master falconers, and special hunts were also organised in which dozens of small birds (considered a delicacy) were caught on an adhesive. A group of noble hunters, lords and ladies on horses were accompanied by gamekeepers, wardens with a pack of hunting dogs during the hunt. Tracker dogs tracked the game, whippets chased the animals and greyhounds were supposed to catch it. Peers often bet higher financial amounts on the success of their greyhounds. Even Vilem ofRozmberk was pleased by a hunting dog victory: on 21 June 1582 he recorded in his calendar: I went to Kratochvile and chased in the preserve and beat Nicolas Korenskj with all my greyhounds . . .

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The meat from the hums ended up on the lord's table, while pelts and racks served as trophies for the decoration of hunting manors. Furniture and bizarre chandeliers made of antlers were also popular interior furnishings in the Renaissance period. Hunts were once a test of personal courage and thrilling entertainment, since certain men were not hesitant at all to stand up to a furious boar or a raging bear with just a dagger in their hand. Petr Vok of Rozmberk was also a passionate and fearless hunter who provided company for Emperor Maximilian II and Archduke Ferdinand of Austria on two such hunts. Petr Vok would get ready for a chase by putting on grey hunting trunk hose and a jerkin, over which he wore a thick cloth waxed coat lined with fox furs, which served as protection against rain, cold and even animal attack. In bad weather he protected his head with a grey hunting hood and put leather gloves on his hands. The high leather boots on his feet were lined with either lynx or fox fur. He took one of his three hunting cross-bows in his hand, threw a quiver over his shoulder, fastened a hunting pouch to his belt, ordered spurs to be placed on his boots, and put beautiful forged collars on his purebred greyhounds. He certainly resembled the hunters on the vaults of the Courtier Room and the Entrance Hall of Kratochvile Chateau. Woodcut ofa hunting scene, Jost Amman, 1592

Detail ofa painting ofa falconer on the vault ofthe Courtier Room. On the following double page: a view ofthe Courtier Room interior.

COURTIER ROOM The Courtier Room is the second largest room on the ground floor of the villa, and its impressive paintings expand on the hunting theme from the Entrance Hall, enriched with large animal figures and mythological themes painted by Georg Widman and his assistants and based on prints by Jost Amman. The inventories of the 16'h century also call it the Large Room, and Eggenberg inventories later refer to it as the Hare Room or the Officers' Dining Hall. However, there is little data available in the inventories about the furnishings of this room. They refer to two tables, chairs and, again, a chandelier with antlers. The hall served for the longer stays and common activities of courtiers, and its pleasant atmosphere and warm comfort was provided by a green glazed tiled stove. Courtier rooms were used for general social purposes; they also served as dining halls, but could be used for different purposes as well. For instance, Evangelical services were held in the courtier room at Trebon Chateau under the rule of the Svamberks. The current installation is based on period iconographic analogies and approximates the atmosphere of a court community gathering over wine.

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Details ofpaintings ofreal and mythical animals on the vault of the Courtier Room and their print models by Jost Amman from the lhierbuch published in Frankfurt am Main in 1592.

JAN ZRINSKr'S CHAMBER

View into the room ofJan Zrinski: a detail ofa Persian shield (sipar), forearm protectors (bazu), sabre (shamshir) and dagger (yatagan).

In the 1601 inventory, the room is referred to as the room of the count, in which quite a large amount of furniture was recorded by the court clerks, including a bed with Damascus curtains and a cover, a chair with armrests, a small stool, 2 tables, a night chair with red cloth, and others. Other evidence suggests chat is likely chat the honoured guest staying in the room was Count Jan Zrinski, Petr Vok's nephew, who was considered by the childless ruler to be his successor and the last hope for preserving family continuity. In agreement with the data from the inventories, the room is set up as the bedroom of a noble count, including a bed with canopy and coloured curtains. The personality of Count Zrinski is also illuminated by other artefacts recalling his Croatian origin, family relationships and famous father, the Croatian and Hungarian national hero Nikola Subic Zrinski.

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Jan Zrinski ofZ!,in (1565-1612) At the time, Eva ofRoimberk (1568), the widow ofthe noble hero Nikola Subic Zrinski, stayed with her young son Jan in Krumlov in a house in the New Town, where she had a decent supply from the Master ruler's court. Vadav Bi'ezan, Lives of the Last Rozmberks I, 217

~ an Zrinski of Zrin was mostly accompanied by his un-

A bust of]an Zrinski from the tombstone in the monastery church in vyffi Brod

cle, Petr Vok of Rozmberk, during his stays at Kratochvile. Vok had an almost father-like relationship to his sister Eva's offspring, since the nephew grew up in his court from the age of five. Jan Zrinski was the son of the Croatian master and chief commander of Hungarian forces on the right bank of the Danube, Nicola Subic Zrinski of Zrin (15181566). Jan's mother was Eva ofRozmberk (1537-1591), who became Zrinski's second wife in 1564 and was the youngest sister of Vilem and Petr Vok. Eva had a joyful, adventurous and obstinate character and so, soon after she married Zrinski, she set off on a dangerous trip to her husband's country, where Christian territories bordered those controlled by the Turks, and where there was a constant risk of military conflict. Nikola brought Eva to his residence in the Croatian town of Cakovec, where she had to face a new environment and get to know her husband's thirteen children from his first marriage to Catherine Frangepan. In 1565, Eva herself gave birth to their son Jan, and one year later to a daughter to whose later fate is not mentioned in history. When a new war with the Turks broke out in 1565, Nicolas Zrinski left to defend Siget fortress some 120 km away, where he was engaged in a bloody battle lasting several weeks. Over 20,000 men, including Zrinski, died on the battlefield. The battle also claimed the life of the commander of the Turkish army, Suleiman the Magnificent. The situation

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The alliance coat ofarms ofJan Zrinski and his wife Mary Magdalene Novohodraskd ofKolovraty in the Hall ofKnights in Roimberk Castle

of the fortress defenders was therefore at an impasse since it was protected by less than 3,000 men, whilst Suleiman's army had 60,000 men (some sources even stated up to 300,000. The men in the fortress held out heroically for a long time and, thanks to perfect fortification and ingenious strategy, they decimated their enemies. In the end, however, the Turks managed to seize the fortress on 7 September 1566. Nicolas demonstrated extraordinary courage when he ordered the gate to be opened and burst out with only a small group of the remaining men, fighting to the very end. He was injured, captured and killed. As a warning to Emperor Maximilian 11, Zrinski's head was sent by the Turks to the Rab fortress where the emperor was staying with his forces at the time. Vilem of Rozmberk was also probably a witness to the bloody message, as he accompanied the emperor as commander of the Bohemian state forces. Zrinski's heroism aroused enormous respect from the entire Christian world and became the topic of many literary works and folk songs. In 1568, Eva of Rozmberk returned to Cesky Krumlov with her children. Petr Vok entrusted his sister with the management of female servants at Bechyne, accepted her 5-year old son with love, and looked after him even after Eva's second marriage to Italian Count Paolo di Gazoldo in 1578, and her subsequent relocation to Mantua and the Italian court of the local ruler, William Gonzaga. Jan had almost no contact with his Croatian relatives; Petr Vok of Rozmberk remained his closest family. When he was seventeen, his uncle sent Jan to Prague to the court of Rudolph II, where he served the emperor, first as a page and later as imperial steward, cutter and cupbearer. In 1593, at Petr Vok's

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behest, he was granted citizenship; in 1597, the ruler entrusted him with the administration of an ancient family castle and the Rozmberk domain. Great joy dominated Cesky Krumlov after a lengthy time in 1600 as Petr Vok organised a grand wedding celebration for his nephew. He spared no expense on the decoration of interiors, music or entertainment, and certainly not on excellent food forty bucks were brought from the Kratochvile game preserve alone. Prominent aristocrats arrived from all over the kingdom on over 900 horses. Jan Zrinski took Mary Magdalene Novohradska of Kolovraty, the daughter ofVok's friend and political partner VolfNovohradsky of Kolovraty, as his bride. As a gift from Petr Vok, the young A detail ofan alleged portrait ofEva ofRozmberk bride received a beautiful wedat the age of43 ding dress of heavy bright silk woven with golden thread and jewels, the cost of which was comparable to the value of a burgher's house. Jan Zrinski took his wife to Rozmberk Castle, which he had reconstructed in the Renaissance style according to the models of his Rozmberk relatives. The glorious wedding and the handover of ancient Rozmberk Castle to his nephew represented Petr Vok's renewed hope for the continuation of the Rozmberk family through Jan, at least on the distaff side. Unfortunately, Jan was unable to fulfil expectations of his uncle. He died without any offspring only a few months after accompanying the body of Petr Vok of Rozmberk on its last journey to the Vyssi Brod monastery. Jan Zrinski of Zrin was buried in April of 1612 in the same place in St. Bartholomew's Chapel, beneath a red marble tombstone with his relief portrait in full armour, portraying Zrinski as a Christian knight and recalling the military honour of his predecessors in defending Christianity.

BATH

Above: A detail of the painting Lady in her Bath by Francois Clouet from the end of the J 6'h century. Left: view of the bath at Kratochvile.

The hygiene of the Renaissance magnate during his stays at the villa was important. It indicates a record in the old inventory, which describes a room where the master washed himself However, the room was not used exclusively for baths. Due to the limited space in the villa, it was probably one of the bedrooms where the bath tub was brought. The inventory further states: a table, a stool in the tub, a red chair with armrest, a green cloth chair, a simple bed and a bed beneath the cover. The bath has been installed on the basis of Renaissance illustrations. It demonstrates hygiene in an aristocratic environment while also providing information on the frequently quite drastic period bath practices, which even the noble Roimberks could not avoid. Besides a wooden tub with curtains, one can also see silver-plated medical instruments for bloodletting, scalpels, tweezers and a bowl to collect blood.

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'Bathing and hygiene in the '%naissance period Take the shells ofthree eggs, three quarters of red corals (= ancient Czech expressing the amount of medicaments), two quarters ofsilk fibres burnt to dust, two quarters ofcinnamon, one quarter ofcloves, two quarters ofPeltram. Grind all ofthis together into the finest powder and use it every morning and evening to brush your teeth .. . A. Huber ofRiesenbach, Regiment of Health

9athing and bath water were considered one of the main hygienic and curative practices for maintaining health in the Renaissance period. Physicians recommended washing one's face, eyes, ears, tongue and lips well with cold water and a drop of rose oil every morning; this was thought to strengthen the body and prevent various infections. The Rozmberks had special bathing equipment and clothing consisting of a number of bath rowels, often with golden trim. Men bathed in a shirt or in special short undergarments. Women dressed in a special shirt richly decorated with colourful or gold and silver embroidery, wearing a bathing cap to cover their hair. After the bath, men and women dressed in a comfortable bathrobe. To clean their bodies well during the bath, they used a famous and very expensive soap that was sent to the Rozmberks directly Painted inventory from Venice and various herbal oils. They rubbed their ofPolyxena ofLobkoskin with precious rose, eucalyptus, lemon, cedar, lavvice, the widow ender and nutmeg oils, waters and perfumes to help of Vi/em ofRoimberk, regenerate the body. illustrating a shaving They also used various cosmetic objects to beautify their kit, a heating vessel, a chamber pot and bodies, including wooden, bone and metal combs, goldcrucibles for hygienic en and silver mirrors, manicure scissors, files, nail and necessities with the ear cleaners, tweezers and scratchers. Special nostrums symbols of Vi/em and pastes existed to clean and whiten teeth. Women ofRoimberk and his in the period were already colouring and lightening second wife, Sophia ofBrandenburg their hair using natural plant-based preparations.

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Musical instruments in the Golden Hall

Alchemy instruments in the Laboratorium

the Turks. Gregor remained in the service of the Rozmberks for his entire life, and his musical art is recalled today by his sgraffito portrait on the fac;:ade of the house at Dlouhi 3 Cesky Krumlov. Jan Stolcar, known as the Plum, later excelled as the long-time master of the Rozmberk troupe. With the lovely sounds of their instruments, the musicians at Kratochvile accompanied ceremonial banquets, dances and wedding parties held in the beautiful Golden Hall. They played their majestic music throughout banquets and during the ensuing entertainment. Their repertoire included pieces of Italian, German and Dutch origin, as well as new works composed by the court musicians of Emperor Rudolph II in Prague. During ceremonial dining the participation of musicians also had a representative function, and the ruler himself enjoyed showing off their musical skills. On these occasions, the musicians would wear stylish poppy-coloured cloth suits with black sleeves and a black ruffles that were closed by laces and several dozen grey buttons. During informal dining, Petr Vok used the services of his organist with a portable instrument.

LABORATORIUM A reference to a small laboratory appears in the 1601 Rozmberk inventory, where the Laboratorium of His Lord Majesty is listed. The builder of the villa certainly did not plan the use of the room in this manner. An alchemy laboratory was therefore created in the stoking chamber, probably during the annual plague stay of the court at Kratochvile. The laboratory was apparently the idea of Petr Vok, who was known for conducting alchemy experiments as well as his efforts to learn the secrets of universal harmony using his scientific tools. However, the room without windows and with only a chimney exhaust did not meet the requirements of a standard alchemy laboratory. As suggests the inventory, containing probably only the remains of the equipment such as a zinc sifter, small table, water glasses, iron spoon and iron, the laboratory could have served for distilling, for instance. On the basis of period analogies, the Laboratorium is equipped with replicas of laboratory glass for distilling, melting pots, a mortar for crushing ingredients and additional alchemy supplies.

CHAMBER WITH ARMS The room was probably of a storage and service character, since it features the original stokehole to the stove in the Hagen's room. The room also has a large niche in the wall holding a cabinet with shelves. A similar niche that functions as a cabinet can be also found in the Courtier Room and in the preparatory chamber. The room evokes the main role of the chateau - hunting amusement. The cabinet in the niche holds luxurious hunting arms and accessories from the end of the 16'h century and the beginning of the 17,h century. The craftsmanship of these articles enhanced the prestige and attractiveness of the hunting outings and reflected the wealth and social prestige of their owners.

A detail ofa hunting rifle from 1610 with a wheel lock and decorated with bone and gilded features. Right: the painted stokehole door in the Chamber with arms.

PREPARATORY CHAMBER

Above: A detail of the painting Still life with Roasted Bird by Peter Binoit from around 1570. Left: The interior of the preparatory chamber.

The ground floor of Renaissance residences traditionally held kitchens, preparatory rooms, pantries and the operational facilities. The kitchen at Kratochvile, including the necessary facilities, was situated in the front tract of the chaceau, so that the formal environment was not disturbed by any undesired smells and processes associated with the preparation of food. Prepared dishes were delivered to the villa on food carriers across the relatively long open space of the inner garden. It was not easy to keep the desired temperature of the dishes until the moment of festive dining, especially in winter months when Kratochvile was often visited for hunting. Therefore, we assume chat one of the chambers on the ground floor of the villa was used as a preparatory chamber where meals may not have been cooked but were laid out, completed or warmed, and reserve supplies of wine, beer and water were stored. The cabinet was used to store the tableware, table cloths and napkins that were, according to the rules of the period, exchanged after every fifth course. A lavaba tub for washing the dishes was a standard part of preparatory rooms.

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UPPER HALL

View ofthe Upper Hall and fireplace with the alliance coats ofarms

A detail ofthe stucco decoration on the Upper Hall's vaulting

The largest room on the upper floor of the villa, referred • to as the palace in period inventories, is surprising for its modest decoration consisting of stucco bands lining the vault segments, a feature that was probably not the original intention of the builder. According to archive sources, the hall should have been painted with poetic and mythological scenes, for which painter Widmann requested 800 dollars. The original plan was probably abandoned, since a restoration survey did not uncover any evidence of the paintings. The hall clearly served a formal purpose. During social events guests entered the room by the main stairway, and it was the first space that fully represented the status of the house's master. In the Renaissance period the room was connected to other spaces for social purposes, especially banquet halls. After a meal in the large banquet hall, the guests moved to the Upper Hall to allow the servants to clear the tables and prepare the room for additional entertainment such as dancing. The spacious hall was furnished depending on the particular occasion. If there were many guests, the room could serve as another banquet hall, a room intended for common dining. 1he 1601 inventory lists: 3 tables, 6 extension tables to the large tables, 3 chairs with armrests, 3 small stools. The dominant element of the design and decoration of the hall is a robust granite fireplace with voluted corbels; the top of the fireplace bears the coats of arms ofVilem of Roimberk and his wife Polyxena of Pernstejn. The golden inscription ofVilem's Festina lente motto serves as a monumental statement of his personal philosophy. Although the original decoration of the walls is not documented, one can form an image based on the archive inventories of other Renaissance structures. Those palaces, as heraldic halls, were decorated with paintings of family members, horses and prominent individuals. On the wall opposite the window are portraits of several key representatives of the Roimberk dynasty who experienced joyful reunions, relaxation and amusement at Kratochvile. The enchanting environment of Kratochvile Chateau is captured in a large painting by Jindfich de Veerle from 1686.

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