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267:, with an implausible perspective with multiple focal points, some naturalistic elements of vegetation and architecture, non-dramatic scenes, and cool colours rendered in large continuous areas. The light comes from a single source and the depth of the space is suggested, for example, by the cast shadow of a candle. The background is replaced by a gilded engraved ornament. The shapes are harder, with an emphasis on drawing, the sculptural volumes of the bodies and draperies are modelled with painting techniques. Underdrawing is visible in places. The inner sides of the retable are gilded and decorated with tin relief ornament imitating brocade, the outer sides are decorated with silver foil with a simpler geometric pattern.
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263:), evident in the careful drawing of small details, the portrait-like characterization of faces, and the realism of the time, which brings the depicted action into the viewer's present and interprets it as an actual story. The characteristic features of the painting style are space depicted in the form of
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it flourished again and managed to regain some of its property. From 1460 to 1490, Nikolaus
Puchner became its twentieth Grand Master and commissioned a new main altar with a statue of the Virgin Mary (Assumpta) and scenes dedicated to the history, mission and spirituality of the Order.
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Jitka Vlčková, The altarpiece of the Grand Master of the
Knights of the Cross with the Red Star Order Mikuláš Puchner, in: Kubík V (ed.), The Jagiellonian Age in the Lands of the Czech Crown (1471-1526), UDKU, KTF UK in Prague, T. Halama České Budějovice 2005, ISBN
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elevated the
Brotherhood to a knightly order and its members exercised spiritual administration over the parishes entrusted to them as canons of the Order. The Order's emblem, which is a cross accompanied by a five-pointed star, was granted by the
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Nadolny J.: The
Technique and use of gilded relief decoration by Northern European painters, c. 1200 - 1500, Volume II., Thesis Submitted for the Degree of Doctor of Philosophy at the Courtauld Institute of Art, University of London,
252:. The statue of the Madonna standing on a crescent (Assumpta type) was probably accompanied by two angels bearing a crown in the original architecture of the altar. The style of carving suggests that the work came from a
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Master of the
Altarpiece of the Knights of the Cross with the Red Star, Altarpiece of Nicholas Puchner, Grand Master of the Knights of the Cross with the Red Star, called Puchner Ark, National gallery Prague
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Puchner's Ark is a large winged altar with a central statue of the Virgin Mary, two fixed and two painted wings on both sides. It was the main altar of the convent of the
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482:Štěpánka Chlumská, Technique of tin relief on panel paintings of the Rakovník, Rokycany and Litoměřice altars, Technologia Artis 6(2008), AVU in Prague, pp.66-83(97)
219:'s death, a fire broke out in the Order hospital of St. Francis, destroying the church and the convent with all its valuables, documents and privileges. During the
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had to retreat to
Catholic western Bohemia. It lost most of its property, which at that time included not only hospitals but also a number of parishes. After the
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is depicted as a princess handing a model of the church to the first Grand Master of the Order, Albert of
Sternberg. On the opposite side,
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in the 1350s. In 1252 Agnes founded a new hospital with the Church of the Holy Spirit (later St. Francis) on the Old Town side of the
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On the upper part of the rear side of the wings were pairs of saints. The surviving left wing shows the patron saint of the country,
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26:, for the church of St. Francis of Assisi in Prague's Old Town. The anonymous author of the panel paintings is referred to as the
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286:). The inscription at the bottom of the painting gives the year of the altar's consecration as the bicentenary of the death of
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Fajt, Jiří, Chlumská, Štěpánka, Bohemia and
Central Europe 1200-1550, National Gallery in Prague 2014, ISBN 978-80-7035-569-5
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The individual parts of the retable were complemented in the lower part by inscriptions, which have only partially survived.
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The two tall panel paintings framing the statue of the Virgin Mary in the altar cabinet show, on the left, the figures of
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and a history dating back to the 13th century. Originally it was a lay hospital fraternity, which was founded in 1233 by
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workshop. The statue is permanently housed in the Church of St. Francis of Assisi in Prague's Old Town.
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was not allowed to leave the cloister and treat the sick. At the bottom left is the Death of the
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The Order of the
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had a branch monastery there. This painting has often been misunderstood as a depiction of
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is depicted wearing a ducal cap, nursing a sick man in bed. Hedwig was the wife of
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is a Gothic retable commissioned in 1482 by
Nikolaus Puchner, Grand Master of the
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The paintings on the wings of the altar are influenced by Dutch naturalism (
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actively participated in the recatholization of the country, and during the
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Jaromír Homolka, in: Late Gothic Art in Bohemia, Odeon Prague 1985, p. 184
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with her usual attributes (wheel, sword, figure of the humiliated Emperor
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Homolka J, in: Late Gothic Art in Bohemia, Odeon Prague 1985, p. 184
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The National Gallery in Prague never closes: Puchner's Ark, CT 2012
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Chlumská Š, Technologia Artis 6 (2008), AVU in Prague, pp.66-83
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Jaroslav Pešina: Czech Gothic Painting, Odeon, Prague 1972
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On the upper part of the left movable wing of the altar,
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Some of the panel paintings that are part of the altar (
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with the kneeling donor Nicolas Puchner turning to the
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and the Church of St. Haštal, following the example of
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Historical background of the altar and its depiction
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385:St. Agnes with Grand Master Albert of Sternberg
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