National Monument at Vítkov

Prompt: Focus on National Monument at Vítkov and explain the The history of Vítkov Hill.

Vítkov has played a role in several important events in Czech history. The first written mention of Vítkov is from the 14th century, during the reign of Charles IV, who had vineyards planted on the hills around Prague. The vineyards stretched from the foot of Vítkov through Vinohrady to Karlov. As well as grapes, Vítkov hill was also used for the cultivation of hops.Vítkov played a major role in the Hussite Wars. In April and May 1420, Sigismund, Holy Roman Emperor led a Pope-sanctioned crusade army against the Hussite movement. As Sigismund proceeded towards Prague, the representatives of the city decided to stand against Sigismund and asked Tábor and other Hussite-controlled boroughs for help. Sigismund seized Hradčany and Vyšehrad while the Hussite forces controlled Vítkov. The decisive Battle of Vítkov Hill took place on 14 July 1420, when the Hussite forces defeated the crusader army.In the second half of the 19th century, Czech nationalism was displayed in historical places, among them Žižkov and Vítkov Hill. In 1877, the town of Královské Vinohrady I was renamed Žižkov, as Jan Žižka, leader of the radical Hussites, was perceived as a symbol of the fight for Czech interests. In 1881 Žižkov was promoted to the status of a town. Vítkov was seen as a symbol of the Czechs and the ancient glory of the Czech nation, which led to the idea of building a monument to Žižka there. The initiative for building the monument is attributed to Karel Hartig, the first mayor of Žižkov.In 1882, the Association for the Construction of the Žižka Monument in Žižkov was established in the hall of the U Deklarace pub. The Association held national celebrations in Žižkov (for instance in 1884) and in 1910 a memorial tablet was unveiled at the top of the hill. The Association's most high-profile act was the announcement of the tender for the Žižka Monument in 1912. No first prize was awarded. The Association's activities were abandoned during World War I.

Category:Collection of the National Museum in Prague

Category:20th-century architecture in the Czech Republic

Category:Mausoleums in the Czech Republic

Category:Buildings and structures in Prague

Category:Monuments and memorials in Prague

Category:Cultural depictions of Jan Žižka

Category:1933 establishments in Czechoslovakia


National Monument at Vítkov

Prompt: Explain the The history of Vítkov Hill of this artwork, National Monument at Vítkov.

Vítkov has played a role in several important events in Czech history. The first written mention of Vítkov is from the 14th century, during the reign of Charles IV, who had vineyards planted on the hills around Prague. The vineyards stretched from the foot of Vítkov through Vinohrady to Karlov. As well as grapes, Vítkov hill was also used for the cultivation of hops.Vítkov played a major role in the Hussite Wars. In April and May 1420, Sigismund, Holy Roman Emperor led a Pope-sanctioned crusade army against the Hussite movement. As Sigismund proceeded towards Prague, the representatives of the city decided to stand against Sigismund and asked Tábor and other Hussite-controlled boroughs for help. Sigismund seized Hradčany and Vyšehrad while the Hussite forces controlled Vítkov. The decisive Battle of Vítkov Hill took place on 14 July 1420, when the Hussite forces defeated the crusader army.In the second half of the 19th century, Czech nationalism was displayed in historical places, among them Žižkov and Vítkov Hill. In 1877, the town of Královské Vinohrady I was renamed Žižkov, as Jan Žižka, leader of the radical Hussites, was perceived as a symbol of the fight for Czech interests. In 1881 Žižkov was promoted to the status of a town. Vítkov was seen as a symbol of the Czechs and the ancient glory of the Czech nation, which led to the idea of building a monument to Žižka there. The initiative for building the monument is attributed to Karel Hartig, the first mayor of Žižkov.In 1882, the Association for the Construction of the Žižka Monument in Žižkov was established in the hall of the U Deklarace pub. The Association held national celebrations in Žižkov (for instance in 1884) and in 1910 a memorial tablet was unveiled at the top of the hill. The Association's most high-profile act was the announcement of the tender for the Žižka Monument in 1912. No first prize was awarded. The Association's activities were abandoned during World War I.

Category:Collection of the National Museum in Prague

Category:20th-century architecture in the Czech Republic

Category:Mausoleums in the Czech Republic

Category:Buildings and structures in Prague

Category:Monuments and memorials in Prague

Category:Cultural depictions of Jan Žižka

Category:1933 establishments in Czechoslovakia


National Monument at Vítkov

Prompt: How does National Monument at Vítkov explain its The history of Vítkov Hill?

Vítkov has played a role in several important events in Czech history. The first written mention of Vítkov is from the 14th century, during the reign of Charles IV, who had vineyards planted on the hills around Prague. The vineyards stretched from the foot of Vítkov through Vinohrady to Karlov. As well as grapes, Vítkov hill was also used for the cultivation of hops.Vítkov played a major role in the Hussite Wars. In April and May 1420, Sigismund, Holy Roman Emperor led a Pope-sanctioned crusade army against the Hussite movement. As Sigismund proceeded towards Prague, the representatives of the city decided to stand against Sigismund and asked Tábor and other Hussite-controlled boroughs for help. Sigismund seized Hradčany and Vyšehrad while the Hussite forces controlled Vítkov. The decisive Battle of Vítkov Hill took place on 14 July 1420, when the Hussite forces defeated the crusader army.In the second half of the 19th century, Czech nationalism was displayed in historical places, among them Žižkov and Vítkov Hill. In 1877, the town of Královské Vinohrady I was renamed Žižkov, as Jan Žižka, leader of the radical Hussites, was perceived as a symbol of the fight for Czech interests. In 1881 Žižkov was promoted to the status of a town. Vítkov was seen as a symbol of the Czechs and the ancient glory of the Czech nation, which led to the idea of building a monument to Žižka there. The initiative for building the monument is attributed to Karel Hartig, the first mayor of Žižkov.In 1882, the Association for the Construction of the Žižka Monument in Žižkov was established in the hall of the U Deklarace pub. The Association held national celebrations in Žižkov (for instance in 1884) and in 1910 a memorial tablet was unveiled at the top of the hill. The Association's most high-profile act was the announcement of the tender for the Žižka Monument in 1912. No first prize was awarded. The Association's activities were abandoned during World War I.

Category:Collection of the National Museum in Prague

Category:20th-century architecture in the Czech Republic

Category:Mausoleums in the Czech Republic

Category:Buildings and structures in Prague

Category:Monuments and memorials in Prague

Category:Cultural depictions of Jan Žižka

Category:1933 establishments in Czechoslovakia


National Monument at Vítkov

Prompt: In National Monument at Vítkov, how is the The history of Vítkov Hill discussed?

Vítkov has played a role in several important events in Czech history. The first written mention of Vítkov is from the 14th century, during the reign of Charles IV, who had vineyards planted on the hills around Prague. The vineyards stretched from the foot of Vítkov through Vinohrady to Karlov. As well as grapes, Vítkov hill was also used for the cultivation of hops.Vítkov played a major role in the Hussite Wars. In April and May 1420, Sigismund, Holy Roman Emperor led a Pope-sanctioned crusade army against the Hussite movement. As Sigismund proceeded towards Prague, the representatives of the city decided to stand against Sigismund and asked Tábor and other Hussite-controlled boroughs for help. Sigismund seized Hradčany and Vyšehrad while the Hussite forces controlled Vítkov. The decisive Battle of Vítkov Hill took place on 14 July 1420, when the Hussite forces defeated the crusader army.In the second half of the 19th century, Czech nationalism was displayed in historical places, among them Žižkov and Vítkov Hill. In 1877, the town of Královské Vinohrady I was renamed Žižkov, as Jan Žižka, leader of the radical Hussites, was perceived as a symbol of the fight for Czech interests. In 1881 Žižkov was promoted to the status of a town. Vítkov was seen as a symbol of the Czechs and the ancient glory of the Czech nation, which led to the idea of building a monument to Žižka there. The initiative for building the monument is attributed to Karel Hartig, the first mayor of Žižkov.In 1882, the Association for the Construction of the Žižka Monument in Žižkov was established in the hall of the U Deklarace pub. The Association held national celebrations in Žižkov (for instance in 1884) and in 1910 a memorial tablet was unveiled at the top of the hill. The Association's most high-profile act was the announcement of the tender for the Žižka Monument in 1912. No first prize was awarded. The Association's activities were abandoned during World War I.

Category:Collection of the National Museum in Prague

Category:20th-century architecture in the Czech Republic

Category:Mausoleums in the Czech Republic

Category:Buildings and structures in Prague

Category:Monuments and memorials in Prague

Category:Cultural depictions of Jan Žižka

Category:1933 establishments in Czechoslovakia


National Monument at Vítkov

Prompt: Focus on National Monument at Vítkov and explain the Establishment of the monument.

In 1918 an independent Czechoslovak state was declared. The state consistently supported activities aimed at maintaining and developing the tradition of foreign legions. The Resistance Monument was established within the Ministry of National Defence in May 1919 as an institution whose role it was to collect written and material memorabilia relating to the resistance. In 1920 the Monument became a separate military institute, with colonel Rudolf Medek as commander. The objective of the Resistance Monument as an institution was to build a structure which would inspire celebration and reverence as well as historical research activities, such as including an archive, library and museum. At that time the Resistance Monument was already cooperating with the Association for the Construction of Žižka's Monument in Žižkov. The two institutions merged in 1926, establishing the Union for the Construction of the Liberation Monument and the Monument to Jan Žižka of Trocnov.Two art contests were held for the design, the more significant being the second one in 1925, which assumed separate buildings for the Monument. The first building, located on Vítkov hill, was to be a necropolis for prominent representatives of the First Resistance, and the second building at the foot of the hill, now used by the Institute of Military History, was to house the administration and museum. The architect Jan Zazvorka won first prize in the contest.The construction of the museum at the foot of the hill was launched in 1927 and completed two years later. The construction of the National Liberation Monument commenced in 1928 when the corner stone was laid on the top of Vítkov Hill in the presence of President T. G. Masaryk to mark the occasion of the 10th anniversary of the creation of Czechoslovakia. The shell was completed in 1933 and interior works continued, involving many leading artists.

Category:Collection of the National Museum in Prague

Category:20th-century architecture in the Czech Republic

Category:Mausoleums in the Czech Republic

Category:Buildings and structures in Prague

Category:Monuments and memorials in Prague

Category:Cultural depictions of Jan Žižka

Category:1933 establishments in Czechoslovakia


National Monument at Vítkov

Prompt: Explain the Establishment of the monument of this artwork, National Monument at Vítkov.

In 1918 an independent Czechoslovak state was declared. The state consistently supported activities aimed at maintaining and developing the tradition of foreign legions. The Resistance Monument was established within the Ministry of National Defence in May 1919 as an institution whose role it was to collect written and material memorabilia relating to the resistance. In 1920 the Monument became a separate military institute, with colonel Rudolf Medek as commander. The objective of the Resistance Monument as an institution was to build a structure which would inspire celebration and reverence as well as historical research activities, such as including an archive, library and museum. At that time the Resistance Monument was already cooperating with the Association for the Construction of Žižka's Monument in Žižkov. The two institutions merged in 1926, establishing the Union for the Construction of the Liberation Monument and the Monument to Jan Žižka of Trocnov.Two art contests were held for the design, the more significant being the second one in 1925, which assumed separate buildings for the Monument. The first building, located on Vítkov hill, was to be a necropolis for prominent representatives of the First Resistance, and the second building at the foot of the hill, now used by the Institute of Military History, was to house the administration and museum. The architect Jan Zazvorka won first prize in the contest.The construction of the museum at the foot of the hill was launched in 1927 and completed two years later. The construction of the National Liberation Monument commenced in 1928 when the corner stone was laid on the top of Vítkov Hill in the presence of President T. G. Masaryk to mark the occasion of the 10th anniversary of the creation of Czechoslovakia. The shell was completed in 1933 and interior works continued, involving many leading artists.

Category:Collection of the National Museum in Prague

Category:20th-century architecture in the Czech Republic

Category:Mausoleums in the Czech Republic

Category:Buildings and structures in Prague

Category:Monuments and memorials in Prague

Category:Cultural depictions of Jan Žižka

Category:1933 establishments in Czechoslovakia


National Monument at Vítkov

Prompt: How does National Monument at Vítkov explain its Establishment of the monument?

In 1918 an independent Czechoslovak state was declared. The state consistently supported activities aimed at maintaining and developing the tradition of foreign legions. The Resistance Monument was established within the Ministry of National Defence in May 1919 as an institution whose role it was to collect written and material memorabilia relating to the resistance. In 1920 the Monument became a separate military institute, with colonel Rudolf Medek as commander. The objective of the Resistance Monument as an institution was to build a structure which would inspire celebration and reverence as well as historical research activities, such as including an archive, library and museum. At that time the Resistance Monument was already cooperating with the Association for the Construction of Žižka's Monument in Žižkov. The two institutions merged in 1926, establishing the Union for the Construction of the Liberation Monument and the Monument to Jan Žižka of Trocnov.Two art contests were held for the design, the more significant being the second one in 1925, which assumed separate buildings for the Monument. The first building, located on Vítkov hill, was to be a necropolis for prominent representatives of the First Resistance, and the second building at the foot of the hill, now used by the Institute of Military History, was to house the administration and museum. The architect Jan Zazvorka won first prize in the contest.The construction of the museum at the foot of the hill was launched in 1927 and completed two years later. The construction of the National Liberation Monument commenced in 1928 when the corner stone was laid on the top of Vítkov Hill in the presence of President T. G. Masaryk to mark the occasion of the 10th anniversary of the creation of Czechoslovakia. The shell was completed in 1933 and interior works continued, involving many leading artists.

Category:Collection of the National Museum in Prague

Category:20th-century architecture in the Czech Republic

Category:Mausoleums in the Czech Republic

Category:Buildings and structures in Prague

Category:Monuments and memorials in Prague

Category:Cultural depictions of Jan Žižka

Category:1933 establishments in Czechoslovakia


National Monument at Vítkov

Prompt: In National Monument at Vítkov, how is the Establishment of the monument discussed?

In 1918 an independent Czechoslovak state was declared. The state consistently supported activities aimed at maintaining and developing the tradition of foreign legions. The Resistance Monument was established within the Ministry of National Defence in May 1919 as an institution whose role it was to collect written and material memorabilia relating to the resistance. In 1920 the Monument became a separate military institute, with colonel Rudolf Medek as commander. The objective of the Resistance Monument as an institution was to build a structure which would inspire celebration and reverence as well as historical research activities, such as including an archive, library and museum. At that time the Resistance Monument was already cooperating with the Association for the Construction of Žižka's Monument in Žižkov. The two institutions merged in 1926, establishing the Union for the Construction of the Liberation Monument and the Monument to Jan Žižka of Trocnov.Two art contests were held for the design, the more significant being the second one in 1925, which assumed separate buildings for the Monument. The first building, located on Vítkov hill, was to be a necropolis for prominent representatives of the First Resistance, and the second building at the foot of the hill, now used by the Institute of Military History, was to house the administration and museum. The architect Jan Zazvorka won first prize in the contest.The construction of the museum at the foot of the hill was launched in 1927 and completed two years later. The construction of the National Liberation Monument commenced in 1928 when the corner stone was laid on the top of Vítkov Hill in the presence of President T. G. Masaryk to mark the occasion of the 10th anniversary of the creation of Czechoslovakia. The shell was completed in 1933 and interior works continued, involving many leading artists.

Category:Collection of the National Museum in Prague

Category:20th-century architecture in the Czech Republic

Category:Mausoleums in the Czech Republic

Category:Buildings and structures in Prague

Category:Monuments and memorials in Prague

Category:Cultural depictions of Jan Žižka

Category:1933 establishments in Czechoslovakia


National Monument at Vítkov

Prompt: Focus on National Monument at Vítkov and explain the The monument during World War II.

In 1938 the Monument was prepared to officially become state property, but this was precluded by the events following the Munich Conference. Thus the Monument remained property of the Union and the artwork decorations were not fully completed.When World War II began, the lower buildings of the museum, now the Institute of Military History, were seized by the Germans. The Monument's building escaped the Wehrmacht's attention until November 1942. The administration of the Monument took advantage of this period to secretly remove everything valuable, such as metals for casting sculptures, and works of art. From November 1942 the Monument was occupied by the German administration and until the end of the war the Wehrmacht used it for storage.

Category:Collection of the National Museum in Prague

Category:20th-century architecture in the Czech Republic

Category:Mausoleums in the Czech Republic

Category:Buildings and structures in Prague

Category:Monuments and memorials in Prague

Category:Cultural depictions of Jan Žižka

Category:1933 establishments in Czechoslovakia


National Monument at Vítkov

Prompt: Explain the The monument during World War II of this artwork, National Monument at Vítkov.

In 1938 the Monument was prepared to officially become state property, but this was precluded by the events following the Munich Conference. Thus the Monument remained property of the Union and the artwork decorations were not fully completed.When World War II began, the lower buildings of the museum, now the Institute of Military History, were seized by the Germans. The Monument's building escaped the Wehrmacht's attention until November 1942. The administration of the Monument took advantage of this period to secretly remove everything valuable, such as metals for casting sculptures, and works of art. From November 1942 the Monument was occupied by the German administration and until the end of the war the Wehrmacht used it for storage.

Category:Collection of the National Museum in Prague

Category:20th-century architecture in the Czech Republic

Category:Mausoleums in the Czech Republic

Category:Buildings and structures in Prague

Category:Monuments and memorials in Prague

Category:Cultural depictions of Jan Žižka

Category:1933 establishments in Czechoslovakia


National Monument at Vítkov

Prompt: How does National Monument at Vítkov explain its The monument during World War II?

In 1938 the Monument was prepared to officially become state property, but this was precluded by the events following the Munich Conference. Thus the Monument remained property of the Union and the artwork decorations were not fully completed.When World War II began, the lower buildings of the museum, now the Institute of Military History, were seized by the Germans. The Monument's building escaped the Wehrmacht's attention until November 1942. The administration of the Monument took advantage of this period to secretly remove everything valuable, such as metals for casting sculptures, and works of art. From November 1942 the Monument was occupied by the German administration and until the end of the war the Wehrmacht used it for storage.

Category:Collection of the National Museum in Prague

Category:20th-century architecture in the Czech Republic

Category:Mausoleums in the Czech Republic

Category:Buildings and structures in Prague

Category:Monuments and memorials in Prague

Category:Cultural depictions of Jan Žižka

Category:1933 establishments in Czechoslovakia


National Monument at Vítkov

Prompt: In National Monument at Vítkov, how is the The monument during World War II discussed?

In 1938 the Monument was prepared to officially become state property, but this was precluded by the events following the Munich Conference. Thus the Monument remained property of the Union and the artwork decorations were not fully completed.When World War II began, the lower buildings of the museum, now the Institute of Military History, were seized by the Germans. The Monument's building escaped the Wehrmacht's attention until November 1942. The administration of the Monument took advantage of this period to secretly remove everything valuable, such as metals for casting sculptures, and works of art. From November 1942 the Monument was occupied by the German administration and until the end of the war the Wehrmacht used it for storage.

Category:Collection of the National Museum in Prague

Category:20th-century architecture in the Czech Republic

Category:Mausoleums in the Czech Republic

Category:Buildings and structures in Prague

Category:Monuments and memorials in Prague

Category:Cultural depictions of Jan Žižka

Category:1933 establishments in Czechoslovakia


National Monument at Vítkov

Prompt: Focus on National Monument at Vítkov and explain the The Equestrian Statue of Jan Žižka of Trocnov.

After the World War I, the activities of the Association for the Construction of Jan Žižka's Monument in Žižkov were renewed. As early as June 1920 the cornerstone was laid in the presence of President T. G. Masaryk. Art tenders were held in 1923, 1925 and 1928, with no satisfactory results.The monument was eventually commissioned in 1931 from sculptor Bohumil Kafka, a professor at Prague's Academy of Visual Arts, outside the tender. The sculpture was intended to be monumental and realistic. It took Kafka ten years to complete the sculpture, and an advisory board of nine people was established to supervise his work, consisting of specialists, historians and hippologists. For this job, Bohumil Kafka had a new studio built in Ořechovka, Prague, 27m high and 18m wide. Firstly he began work on model of a horse without the rider. Several men then modelled for the rider part, conceiving the rider's position, body and head. Experts in historical armament provided information not only on the rider's clothing style, but also many other details, such as the design of the foot frame. Kafka made a plaster model of Žižka's statue in November 1941 and died shortly afterwards.The sculpture was cast after the liberation of the country at the end of World War II. It was unveiled on 14 July 1950, to mark the anniversary of the Battle of Vítkov. It is tethered to reinforced concrete plugs anchored in the structure of the Monument. The sculpture is 9 metres (30 ft) high, 9.6 metres (31 ft) long, and weighs 16.5 tonnes (16.2 long tons; 18.2 short tons).

Category:Collection of the National Museum in Prague

Category:20th-century architecture in the Czech Republic

Category:Mausoleums in the Czech Republic

Category:Buildings and structures in Prague

Category:Monuments and memorials in Prague

Category:Cultural depictions of Jan Žižka

Category:1933 establishments in Czechoslovakia


National Monument at Vítkov

Prompt: Explain the The Equestrian Statue of Jan Žižka of Trocnov of this artwork, National Monument at Vítkov.

After the World War I, the activities of the Association for the Construction of Jan Žižka's Monument in Žižkov were renewed. As early as June 1920 the cornerstone was laid in the presence of President T. G. Masaryk. Art tenders were held in 1923, 1925 and 1928, with no satisfactory results.The monument was eventually commissioned in 1931 from sculptor Bohumil Kafka, a professor at Prague's Academy of Visual Arts, outside the tender. The sculpture was intended to be monumental and realistic. It took Kafka ten years to complete the sculpture, and an advisory board of nine people was established to supervise his work, consisting of specialists, historians and hippologists. For this job, Bohumil Kafka had a new studio built in Ořechovka, Prague, 27m high and 18m wide. Firstly he began work on model of a horse without the rider. Several men then modelled for the rider part, conceiving the rider's position, body and head. Experts in historical armament provided information not only on the rider's clothing style, but also many other details, such as the design of the foot frame. Kafka made a plaster model of Žižka's statue in November 1941 and died shortly afterwards.The sculpture was cast after the liberation of the country at the end of World War II. It was unveiled on 14 July 1950, to mark the anniversary of the Battle of Vítkov. It is tethered to reinforced concrete plugs anchored in the structure of the Monument. The sculpture is 9 metres (30 ft) high, 9.6 metres (31 ft) long, and weighs 16.5 tonnes (16.2 long tons; 18.2 short tons).

Category:Collection of the National Museum in Prague

Category:20th-century architecture in the Czech Republic

Category:Mausoleums in the Czech Republic

Category:Buildings and structures in Prague

Category:Monuments and memorials in Prague

Category:Cultural depictions of Jan Žižka

Category:1933 establishments in Czechoslovakia


National Monument at Vítkov

Prompt: How does National Monument at Vítkov explain its The Equestrian Statue of Jan Žižka of Trocnov?

After the World War I, the activities of the Association for the Construction of Jan Žižka's Monument in Žižkov were renewed. As early as June 1920 the cornerstone was laid in the presence of President T. G. Masaryk. Art tenders were held in 1923, 1925 and 1928, with no satisfactory results.The monument was eventually commissioned in 1931 from sculptor Bohumil Kafka, a professor at Prague's Academy of Visual Arts, outside the tender. The sculpture was intended to be monumental and realistic. It took Kafka ten years to complete the sculpture, and an advisory board of nine people was established to supervise his work, consisting of specialists, historians and hippologists. For this job, Bohumil Kafka had a new studio built in Ořechovka, Prague, 27m high and 18m wide. Firstly he began work on model of a horse without the rider. Several men then modelled for the rider part, conceiving the rider's position, body and head. Experts in historical armament provided information not only on the rider's clothing style, but also many other details, such as the design of the foot frame. Kafka made a plaster model of Žižka's statue in November 1941 and died shortly afterwards.The sculpture was cast after the liberation of the country at the end of World War II. It was unveiled on 14 July 1950, to mark the anniversary of the Battle of Vítkov. It is tethered to reinforced concrete plugs anchored in the structure of the Monument. The sculpture is 9 metres (30 ft) high, 9.6 metres (31 ft) long, and weighs 16.5 tonnes (16.2 long tons; 18.2 short tons).

Category:Collection of the National Museum in Prague

Category:20th-century architecture in the Czech Republic

Category:Mausoleums in the Czech Republic

Category:Buildings and structures in Prague

Category:Monuments and memorials in Prague

Category:Cultural depictions of Jan Žižka

Category:1933 establishments in Czechoslovakia


National Monument at Vítkov

Prompt: In National Monument at Vítkov, how is the The Equestrian Statue of Jan Žižka of Trocnov discussed?

After the World War I, the activities of the Association for the Construction of Jan Žižka's Monument in Žižkov were renewed. As early as June 1920 the cornerstone was laid in the presence of President T. G. Masaryk. Art tenders were held in 1923, 1925 and 1928, with no satisfactory results.The monument was eventually commissioned in 1931 from sculptor Bohumil Kafka, a professor at Prague's Academy of Visual Arts, outside the tender. The sculpture was intended to be monumental and realistic. It took Kafka ten years to complete the sculpture, and an advisory board of nine people was established to supervise his work, consisting of specialists, historians and hippologists. For this job, Bohumil Kafka had a new studio built in Ořechovka, Prague, 27m high and 18m wide. Firstly he began work on model of a horse without the rider. Several men then modelled for the rider part, conceiving the rider's position, body and head. Experts in historical armament provided information not only on the rider's clothing style, but also many other details, such as the design of the foot frame. Kafka made a plaster model of Žižka's statue in November 1941 and died shortly afterwards.The sculpture was cast after the liberation of the country at the end of World War II. It was unveiled on 14 July 1950, to mark the anniversary of the Battle of Vítkov. It is tethered to reinforced concrete plugs anchored in the structure of the Monument. The sculpture is 9 metres (30 ft) high, 9.6 metres (31 ft) long, and weighs 16.5 tonnes (16.2 long tons; 18.2 short tons).

Category:Collection of the National Museum in Prague

Category:20th-century architecture in the Czech Republic

Category:Mausoleums in the Czech Republic

Category:Buildings and structures in Prague

Category:Monuments and memorials in Prague

Category:Cultural depictions of Jan Žižka

Category:1933 establishments in Czechoslovakia


National Monument at Vítkov

Prompt: Focus on National Monument at Vítkov and explain the Tomb of the Unknown Soldier.

The Tomb of the Unknown Soldier is located underneath the Equestrian Statue. The Czechoslovak Tomb of the Unknown Soldier was originally established in the Old Town Hall in 1922 as a temporary place of piety and contained the remains of an unknown soldier from the Battle of Zborov. At the beginning of the Protectorate of Bohemia and Moravia in 1939, the Tomb became a place where people expressed their symbolic resistance against Nazi rule. It was demolished by the Nazis in 1941.After World War II, consideration was given to renewing the tomb and moving it to Vítkov. As part of the 30th anniversary of the Battle of Zborov, the Headquarters of the Czechoslovak Army decided to establish the Tomb of the Unknown Soldier in the National Monument in Vítkov, which would contain the remains from Zborov, but Soviet embassy officials denied the transfer of those remains. In June 1949 restoration work was underway in the military graveyard near Dukla, and during exhumation work on 14 July 1949 the remains of one of the unknown soldiers were unearthed in the graveyard in Vyšný Komárnik. They were transported to Prague and temporarily lodged with the National Museum. On Sunday 9 October 1949, when celebrations of the 5th anniversary of the Battle of the Dukla Pass were at their peak, the remains were moved to the Liberation Monument.On 8 May 2010 other remains of an unknown soldier from Zborov were put in the Tomb next to the unknown soldier from Dukla, thus fulfilling the original idea of the Monument. The remains are lodged in one of the coffins. The Tomb of the Unknown Soldier is today perceived as an expression of thanksgiving to the Czechs and Slovaks who fell in the struggle to liberate the Czech and Czechoslovak states. In 2006 General Alois Eliáš and his wife were also buried here.

Category:Collection of the National Museum in Prague

Category:20th-century architecture in the Czech Republic

Category:Mausoleums in the Czech Republic

Category:Buildings and structures in Prague

Category:Monuments and memorials in Prague

Category:Cultural depictions of Jan Žižka

Category:1933 establishments in Czechoslovakia


National Monument at Vítkov

Prompt: Explain the Tomb of the Unknown Soldier of this artwork, National Monument at Vítkov.

The Tomb of the Unknown Soldier is located underneath the Equestrian Statue. The Czechoslovak Tomb of the Unknown Soldier was originally established in the Old Town Hall in 1922 as a temporary place of piety and contained the remains of an unknown soldier from the Battle of Zborov. At the beginning of the Protectorate of Bohemia and Moravia in 1939, the Tomb became a place where people expressed their symbolic resistance against Nazi rule. It was demolished by the Nazis in 1941.After World War II, consideration was given to renewing the tomb and moving it to Vítkov. As part of the 30th anniversary of the Battle of Zborov, the Headquarters of the Czechoslovak Army decided to establish the Tomb of the Unknown Soldier in the National Monument in Vítkov, which would contain the remains from Zborov, but Soviet embassy officials denied the transfer of those remains. In June 1949 restoration work was underway in the military graveyard near Dukla, and during exhumation work on 14 July 1949 the remains of one of the unknown soldiers were unearthed in the graveyard in Vyšný Komárnik. They were transported to Prague and temporarily lodged with the National Museum. On Sunday 9 October 1949, when celebrations of the 5th anniversary of the Battle of the Dukla Pass were at their peak, the remains were moved to the Liberation Monument.On 8 May 2010 other remains of an unknown soldier from Zborov were put in the Tomb next to the unknown soldier from Dukla, thus fulfilling the original idea of the Monument. The remains are lodged in one of the coffins. The Tomb of the Unknown Soldier is today perceived as an expression of thanksgiving to the Czechs and Slovaks who fell in the struggle to liberate the Czech and Czechoslovak states. In 2006 General Alois Eliáš and his wife were also buried here.

Category:Collection of the National Museum in Prague

Category:20th-century architecture in the Czech Republic

Category:Mausoleums in the Czech Republic

Category:Buildings and structures in Prague

Category:Monuments and memorials in Prague

Category:Cultural depictions of Jan Žižka

Category:1933 establishments in Czechoslovakia


National Monument at Vítkov

Prompt: How does National Monument at Vítkov explain its Tomb of the Unknown Soldier?

The Tomb of the Unknown Soldier is located underneath the Equestrian Statue. The Czechoslovak Tomb of the Unknown Soldier was originally established in the Old Town Hall in 1922 as a temporary place of piety and contained the remains of an unknown soldier from the Battle of Zborov. At the beginning of the Protectorate of Bohemia and Moravia in 1939, the Tomb became a place where people expressed their symbolic resistance against Nazi rule. It was demolished by the Nazis in 1941.After World War II, consideration was given to renewing the tomb and moving it to Vítkov. As part of the 30th anniversary of the Battle of Zborov, the Headquarters of the Czechoslovak Army decided to establish the Tomb of the Unknown Soldier in the National Monument in Vítkov, which would contain the remains from Zborov, but Soviet embassy officials denied the transfer of those remains. In June 1949 restoration work was underway in the military graveyard near Dukla, and during exhumation work on 14 July 1949 the remains of one of the unknown soldiers were unearthed in the graveyard in Vyšný Komárnik. They were transported to Prague and temporarily lodged with the National Museum. On Sunday 9 October 1949, when celebrations of the 5th anniversary of the Battle of the Dukla Pass were at their peak, the remains were moved to the Liberation Monument.On 8 May 2010 other remains of an unknown soldier from Zborov were put in the Tomb next to the unknown soldier from Dukla, thus fulfilling the original idea of the Monument. The remains are lodged in one of the coffins. The Tomb of the Unknown Soldier is today perceived as an expression of thanksgiving to the Czechs and Slovaks who fell in the struggle to liberate the Czech and Czechoslovak states. In 2006 General Alois Eliáš and his wife were also buried here.

Category:Collection of the National Museum in Prague

Category:20th-century architecture in the Czech Republic

Category:Mausoleums in the Czech Republic

Category:Buildings and structures in Prague

Category:Monuments and memorials in Prague

Category:Cultural depictions of Jan Žižka

Category:1933 establishments in Czechoslovakia


National Monument at Vítkov

Prompt: In National Monument at Vítkov, how is the Tomb of the Unknown Soldier discussed?

The Tomb of the Unknown Soldier is located underneath the Equestrian Statue. The Czechoslovak Tomb of the Unknown Soldier was originally established in the Old Town Hall in 1922 as a temporary place of piety and contained the remains of an unknown soldier from the Battle of Zborov. At the beginning of the Protectorate of Bohemia and Moravia in 1939, the Tomb became a place where people expressed their symbolic resistance against Nazi rule. It was demolished by the Nazis in 1941.After World War II, consideration was given to renewing the tomb and moving it to Vítkov. As part of the 30th anniversary of the Battle of Zborov, the Headquarters of the Czechoslovak Army decided to establish the Tomb of the Unknown Soldier in the National Monument in Vítkov, which would contain the remains from Zborov, but Soviet embassy officials denied the transfer of those remains. In June 1949 restoration work was underway in the military graveyard near Dukla, and during exhumation work on 14 July 1949 the remains of one of the unknown soldiers were unearthed in the graveyard in Vyšný Komárnik. They were transported to Prague and temporarily lodged with the National Museum. On Sunday 9 October 1949, when celebrations of the 5th anniversary of the Battle of the Dukla Pass were at their peak, the remains were moved to the Liberation Monument.On 8 May 2010 other remains of an unknown soldier from Zborov were put in the Tomb next to the unknown soldier from Dukla, thus fulfilling the original idea of the Monument. The remains are lodged in one of the coffins. The Tomb of the Unknown Soldier is today perceived as an expression of thanksgiving to the Czechs and Slovaks who fell in the struggle to liberate the Czech and Czechoslovak states. In 2006 General Alois Eliáš and his wife were also buried here.

Category:Collection of the National Museum in Prague

Category:20th-century architecture in the Czech Republic

Category:Mausoleums in the Czech Republic

Category:Buildings and structures in Prague

Category:Monuments and memorials in Prague

Category:Cultural depictions of Jan Žižka

Category:1933 establishments in Czechoslovakia


National Monument at Vítkov

Prompt: Focus on National Monument at Vítkov and explain the A Communist Pantheon.

After World War II the renewal of the Monument commenced. Works also began on the new building, to be used as a tribute to the resistance against Nazism. However, the events of February 1948 led to the monument being used in new ways. Vigorous oppression of the legionary tradition commenced in 1950, and following a decision of the Central Committee of the Communist Party of Czechoslovakia, the Monument of Liberation was converted into a proletariat pantheon, thus changing its ideological function.

Category:Collection of the National Museum in Prague

Category:20th-century architecture in the Czech Republic

Category:Mausoleums in the Czech Republic

Category:Buildings and structures in Prague

Category:Monuments and memorials in Prague

Category:Cultural depictions of Jan Žižka

Category:1933 establishments in Czechoslovakia


National Monument at Vítkov

Prompt: Explain the A Communist Pantheon of this artwork, National Monument at Vítkov.

After World War II the renewal of the Monument commenced. Works also began on the new building, to be used as a tribute to the resistance against Nazism. However, the events of February 1948 led to the monument being used in new ways. Vigorous oppression of the legionary tradition commenced in 1950, and following a decision of the Central Committee of the Communist Party of Czechoslovakia, the Monument of Liberation was converted into a proletariat pantheon, thus changing its ideological function.

Category:Collection of the National Museum in Prague

Category:20th-century architecture in the Czech Republic

Category:Mausoleums in the Czech Republic

Category:Buildings and structures in Prague

Category:Monuments and memorials in Prague

Category:Cultural depictions of Jan Žižka

Category:1933 establishments in Czechoslovakia


National Monument at Vítkov

Prompt: How does National Monument at Vítkov explain its A Communist Pantheon?

After World War II the renewal of the Monument commenced. Works also began on the new building, to be used as a tribute to the resistance against Nazism. However, the events of February 1948 led to the monument being used in new ways. Vigorous oppression of the legionary tradition commenced in 1950, and following a decision of the Central Committee of the Communist Party of Czechoslovakia, the Monument of Liberation was converted into a proletariat pantheon, thus changing its ideological function.

Category:Collection of the National Museum in Prague

Category:20th-century architecture in the Czech Republic

Category:Mausoleums in the Czech Republic

Category:Buildings and structures in Prague

Category:Monuments and memorials in Prague

Category:Cultural depictions of Jan Žižka

Category:1933 establishments in Czechoslovakia


National Monument at Vítkov

Prompt: In National Monument at Vítkov, how is the A Communist Pantheon discussed?

After World War II the renewal of the Monument commenced. Works also began on the new building, to be used as a tribute to the resistance against Nazism. However, the events of February 1948 led to the monument being used in new ways. Vigorous oppression of the legionary tradition commenced in 1950, and following a decision of the Central Committee of the Communist Party of Czechoslovakia, the Monument of Liberation was converted into a proletariat pantheon, thus changing its ideological function.

Category:Collection of the National Museum in Prague

Category:20th-century architecture in the Czech Republic

Category:Mausoleums in the Czech Republic

Category:Buildings and structures in Prague

Category:Monuments and memorials in Prague

Category:Cultural depictions of Jan Žižka

Category:1933 establishments in Czechoslovakia


National Monument at Vítkov

Prompt: In the context of National Monument at Vítkov, explain the The Gottwald Mausoleum and the A Communist Pantheon.

In 1953 the Central Committee decided to establish a mausoleum for Klement Gottwald in the Monument, which remained there until 1962. The original layout had placed a sarcophagus in the Main Hall, which was intended for the burial of President T. G. Masaryk. Masaryk eventually rejected the plan to be buried there, and so did his family after his death. In 1953, this area was rebuilt into the Klement Gottwald Mausoleum. The Minister of National Defence and Gottwald's son-in-law Alexej Čepička was in charge of preparatory works for the conversion. The examples came from Lenin's Mausoleum in Moscow and the Georgi Dimitrov Mausoleum in Sofia. The Mausoleum included technical facilities for embalming Gottwald's body. The construction work also involved the son of the Monument's key architect, Jan Zázvorka Jr., a film architect. The technical facilities for the Klement Gottwald Mausoleum were built in the underground premises of the Monument. The construction of the underground premises was completed in October 1953. Klement Gottwald's body was exhibited in the centre of the Mausoleum in a glazed sarcophagus. The lid had built-in lights with small mirrors. The body was moved in and out of the underground laboratory by a vibration-free telescopic device. The embalmed body was dressed in the blue general's uniform of the Head Commander of Czechoslovak armies. In 1958 it was changed to civilian attire.The Klement Gottwald Mausoleum and its original design lasted until Klement Gottwald's body was  cremated in 1962 when the technical facilities for embalming were removed. The only elements of the original design  preserved until today are the control room and the ground plan for the laboratory.

Category:Collection of the National Museum in Prague

Category:20th-century architecture in the Czech Republic

Category:Mausoleums in the Czech Republic

Category:Buildings and structures in Prague

Category:Monuments and memorials in Prague

Category:Cultural depictions of Jan Žižka

Category:1933 establishments in Czechoslovakia


National Monument at Vítkov

Prompt: Explain the The Gottwald Mausoleum about the A Communist Pantheon of this artwork, National Monument at Vítkov.

In 1953 the Central Committee decided to establish a mausoleum for Klement Gottwald in the Monument, which remained there until 1962. The original layout had placed a sarcophagus in the Main Hall, which was intended for the burial of President T. G. Masaryk. Masaryk eventually rejected the plan to be buried there, and so did his family after his death. In 1953, this area was rebuilt into the Klement Gottwald Mausoleum. The Minister of National Defence and Gottwald's son-in-law Alexej Čepička was in charge of preparatory works for the conversion. The examples came from Lenin's Mausoleum in Moscow and the Georgi Dimitrov Mausoleum in Sofia. The Mausoleum included technical facilities for embalming Gottwald's body. The construction work also involved the son of the Monument's key architect, Jan Zázvorka Jr., a film architect. The technical facilities for the Klement Gottwald Mausoleum were built in the underground premises of the Monument. The construction of the underground premises was completed in October 1953. Klement Gottwald's body was exhibited in the centre of the Mausoleum in a glazed sarcophagus. The lid had built-in lights with small mirrors. The body was moved in and out of the underground laboratory by a vibration-free telescopic device. The embalmed body was dressed in the blue general's uniform of the Head Commander of Czechoslovak armies. In 1958 it was changed to civilian attire.The Klement Gottwald Mausoleum and its original design lasted until Klement Gottwald's body was  cremated in 1962 when the technical facilities for embalming were removed. The only elements of the original design  preserved until today are the control room and the ground plan for the laboratory.

Category:Collection of the National Museum in Prague

Category:20th-century architecture in the Czech Republic

Category:Mausoleums in the Czech Republic

Category:Buildings and structures in Prague

Category:Monuments and memorials in Prague

Category:Cultural depictions of Jan Žižka

Category:1933 establishments in Czechoslovakia


National Monument at Vítkov

Prompt: In National Monument at Vítkov, how is the The Gottwald Mausoleum of the A Communist Pantheon explained?

In 1953 the Central Committee decided to establish a mausoleum for Klement Gottwald in the Monument, which remained there until 1962. The original layout had placed a sarcophagus in the Main Hall, which was intended for the burial of President T. G. Masaryk. Masaryk eventually rejected the plan to be buried there, and so did his family after his death. In 1953, this area was rebuilt into the Klement Gottwald Mausoleum. The Minister of National Defence and Gottwald's son-in-law Alexej Čepička was in charge of preparatory works for the conversion. The examples came from Lenin's Mausoleum in Moscow and the Georgi Dimitrov Mausoleum in Sofia. The Mausoleum included technical facilities for embalming Gottwald's body. The construction work also involved the son of the Monument's key architect, Jan Zázvorka Jr., a film architect. The technical facilities for the Klement Gottwald Mausoleum were built in the underground premises of the Monument. The construction of the underground premises was completed in October 1953. Klement Gottwald's body was exhibited in the centre of the Mausoleum in a glazed sarcophagus. The lid had built-in lights with small mirrors. The body was moved in and out of the underground laboratory by a vibration-free telescopic device. The embalmed body was dressed in the blue general's uniform of the Head Commander of Czechoslovak armies. In 1958 it was changed to civilian attire.The Klement Gottwald Mausoleum and its original design lasted until Klement Gottwald's body was  cremated in 1962 when the technical facilities for embalming were removed. The only elements of the original design  preserved until today are the control room and the ground plan for the laboratory.

Category:Collection of the National Museum in Prague

Category:20th-century architecture in the Czech Republic

Category:Mausoleums in the Czech Republic

Category:Buildings and structures in Prague

Category:Monuments and memorials in Prague

Category:Cultural depictions of Jan Žižka

Category:1933 establishments in Czechoslovakia


National Monument at Vítkov

Prompt: Describe the characteristics of the The Gottwald Mausoleum in National Monument at Vítkov's A Communist Pantheon.

In 1953 the Central Committee decided to establish a mausoleum for Klement Gottwald in the Monument, which remained there until 1962. The original layout had placed a sarcophagus in the Main Hall, which was intended for the burial of President T. G. Masaryk. Masaryk eventually rejected the plan to be buried there, and so did his family after his death. In 1953, this area was rebuilt into the Klement Gottwald Mausoleum. The Minister of National Defence and Gottwald's son-in-law Alexej Čepička was in charge of preparatory works for the conversion. The examples came from Lenin's Mausoleum in Moscow and the Georgi Dimitrov Mausoleum in Sofia. The Mausoleum included technical facilities for embalming Gottwald's body. The construction work also involved the son of the Monument's key architect, Jan Zázvorka Jr., a film architect. The technical facilities for the Klement Gottwald Mausoleum were built in the underground premises of the Monument. The construction of the underground premises was completed in October 1953. Klement Gottwald's body was exhibited in the centre of the Mausoleum in a glazed sarcophagus. The lid had built-in lights with small mirrors. The body was moved in and out of the underground laboratory by a vibration-free telescopic device. The embalmed body was dressed in the blue general's uniform of the Head Commander of Czechoslovak armies. In 1958 it was changed to civilian attire.The Klement Gottwald Mausoleum and its original design lasted until Klement Gottwald's body was  cremated in 1962 when the technical facilities for embalming were removed. The only elements of the original design  preserved until today are the control room and the ground plan for the laboratory.

Category:Collection of the National Museum in Prague

Category:20th-century architecture in the Czech Republic

Category:Mausoleums in the Czech Republic

Category:Buildings and structures in Prague

Category:Monuments and memorials in Prague

Category:Cultural depictions of Jan Žižka

Category:1933 establishments in Czechoslovakia


National Monument at Vítkov

Prompt: In the context of National Monument at Vítkov, explain the Urn burials until 1990 and the A Communist Pantheon.

After Gottwald's body was  cremated in 1962, the funerary urn containing his ashes was returned to the National Monument and placed in the sarcophagus. His ashes remained in the National Monument until the Velvet Revolution. Other prominent members of the Communist Party of Czechoslovakia whose urns were displayed alongside Gottwald's in the National Monument were Gusta Fučiková, Marta Gottwaldová, Josef Haken, Jan Harus, Josef Hlavicka, Čeněk Hruška, Jiří František Chaloupecký, Antonín Janoušek, Josef Juran, Augustin Kliment, Václav Kopecký, Marie Majerová, Stefan Major, Václav Nosek, Bohuslav Novotný, Julie Prokopová, Antonín Sochor, Rudolf Strechaj, Josef Tesla, Rudolf Vetiska, Jan Vodička, Bohuslav Vrbenský and Antonín Zmrhal. In 1990, all these urns were removed and buried in a community grave at Olšany Cemetery.

Category:Collection of the National Museum in Prague

Category:20th-century architecture in the Czech Republic

Category:Mausoleums in the Czech Republic

Category:Buildings and structures in Prague

Category:Monuments and memorials in Prague

Category:Cultural depictions of Jan Žižka

Category:1933 establishments in Czechoslovakia


National Monument at Vítkov

Prompt: Explain the Urn burials until 1990 about the A Communist Pantheon of this artwork, National Monument at Vítkov.

After Gottwald's body was  cremated in 1962, the funerary urn containing his ashes was returned to the National Monument and placed in the sarcophagus. His ashes remained in the National Monument until the Velvet Revolution. Other prominent members of the Communist Party of Czechoslovakia whose urns were displayed alongside Gottwald's in the National Monument were Gusta Fučiková, Marta Gottwaldová, Josef Haken, Jan Harus, Josef Hlavicka, Čeněk Hruška, Jiří František Chaloupecký, Antonín Janoušek, Josef Juran, Augustin Kliment, Václav Kopecký, Marie Majerová, Stefan Major, Václav Nosek, Bohuslav Novotný, Julie Prokopová, Antonín Sochor, Rudolf Strechaj, Josef Tesla, Rudolf Vetiska, Jan Vodička, Bohuslav Vrbenský and Antonín Zmrhal. In 1990, all these urns were removed and buried in a community grave at Olšany Cemetery.

Category:Collection of the National Museum in Prague

Category:20th-century architecture in the Czech Republic

Category:Mausoleums in the Czech Republic

Category:Buildings and structures in Prague

Category:Monuments and memorials in Prague

Category:Cultural depictions of Jan Žižka

Category:1933 establishments in Czechoslovakia


National Monument at Vítkov

Prompt: In National Monument at Vítkov, how is the Urn burials until 1990 of the A Communist Pantheon explained?

After Gottwald's body was  cremated in 1962, the funerary urn containing his ashes was returned to the National Monument and placed in the sarcophagus. His ashes remained in the National Monument until the Velvet Revolution. Other prominent members of the Communist Party of Czechoslovakia whose urns were displayed alongside Gottwald's in the National Monument were Gusta Fučiková, Marta Gottwaldová, Josef Haken, Jan Harus, Josef Hlavicka, Čeněk Hruška, Jiří František Chaloupecký, Antonín Janoušek, Josef Juran, Augustin Kliment, Václav Kopecký, Marie Majerová, Stefan Major, Václav Nosek, Bohuslav Novotný, Julie Prokopová, Antonín Sochor, Rudolf Strechaj, Josef Tesla, Rudolf Vetiska, Jan Vodička, Bohuslav Vrbenský and Antonín Zmrhal. In 1990, all these urns were removed and buried in a community grave at Olšany Cemetery.

Category:Collection of the National Museum in Prague

Category:20th-century architecture in the Czech Republic

Category:Mausoleums in the Czech Republic

Category:Buildings and structures in Prague

Category:Monuments and memorials in Prague

Category:Cultural depictions of Jan Žižka

Category:1933 establishments in Czechoslovakia


National Monument at Vítkov

Prompt: Describe the characteristics of the Urn burials until 1990 in National Monument at Vítkov's A Communist Pantheon.

After Gottwald's body was  cremated in 1962, the funerary urn containing his ashes was returned to the National Monument and placed in the sarcophagus. His ashes remained in the National Monument until the Velvet Revolution. Other prominent members of the Communist Party of Czechoslovakia whose urns were displayed alongside Gottwald's in the National Monument were Gusta Fučiková, Marta Gottwaldová, Josef Haken, Jan Harus, Josef Hlavicka, Čeněk Hruška, Jiří František Chaloupecký, Antonín Janoušek, Josef Juran, Augustin Kliment, Václav Kopecký, Marie Majerová, Stefan Major, Václav Nosek, Bohuslav Novotný, Julie Prokopová, Antonín Sochor, Rudolf Strechaj, Josef Tesla, Rudolf Vetiska, Jan Vodička, Bohuslav Vrbenský and Antonín Zmrhal. In 1990, all these urns were removed and buried in a community grave at Olšany Cemetery.

Category:Collection of the National Museum in Prague

Category:20th-century architecture in the Czech Republic

Category:Mausoleums in the Czech Republic

Category:Buildings and structures in Prague

Category:Monuments and memorials in Prague

Category:Cultural depictions of Jan Žižka

Category:1933 establishments in Czechoslovakia


Prompt: Focus on A Meat Stall with the Holy Family Giving Alms and explain the abstract.

A Meat Stall with the Holy Family Giving Alms is a painting by the Dutch artist Pieter Aertsen (1508–1575). It was completed in 1551. A large painting, it depicts a peasant market scene, with an abundance of meats and other foods. In the background, it shows a scene from the biblical theme of the flight into Egypt, where the Virgin Mary is seen stopped on the road, giving alms to the poor. Thus, although the painting seems to be at first sight an ordinary still life concentrating on foodstuffs, it is rich with symbolism; it in fact hides a symbolic religious meaning, and embodies a visual metaphor encouraging spiritual life. Aertsen made a name for himself during the 1550s painting scenes from everyday life in a naturalistic manner.

This sign <!-- in the upper right corner --> reads in [[Flemish dialects

Aertsen's paintings of fruit and vegetable stalls, such as ''Market Scene'' ''(pictured)'', are similar in composition to that of ''A Meat Stall with the Holy Family Giving Alms''.

File:A Meat Stall with the Holy Family Giving Alms - Placard.jpg

File:Pieter Aertsen - Market Scene - Google Art Project.jpg

Category:Paintings in the North Carolina Museum of Art

Category:Paintings of the Flight into Egypt


Prompt: Explain the abstract of this artwork, A Meat Stall with the Holy Family Giving Alms.

A Meat Stall with the Holy Family Giving Alms is a painting by the Dutch artist Pieter Aertsen (1508–1575). It was completed in 1551. A large painting, it depicts a peasant market scene, with an abundance of meats and other foods. In the background, it shows a scene from the biblical theme of the flight into Egypt, where the Virgin Mary is seen stopped on the road, giving alms to the poor. Thus, although the painting seems to be at first sight an ordinary still life concentrating on foodstuffs, it is rich with symbolism; it in fact hides a symbolic religious meaning, and embodies a visual metaphor encouraging spiritual life. Aertsen made a name for himself during the 1550s painting scenes from everyday life in a naturalistic manner.

This sign <!-- in the upper right corner --> reads in [[Flemish dialects

Aertsen's paintings of fruit and vegetable stalls, such as ''Market Scene'' ''(pictured)'', are similar in composition to that of ''A Meat Stall with the Holy Family Giving Alms''.

File:A Meat Stall with the Holy Family Giving Alms - Placard.jpg

File:Pieter Aertsen - Market Scene - Google Art Project.jpg

Category:Paintings in the North Carolina Museum of Art

Category:Paintings of the Flight into Egypt


Prompt: How does A Meat Stall with the Holy Family Giving Alms explain its abstract?

A Meat Stall with the Holy Family Giving Alms is a painting by the Dutch artist Pieter Aertsen (1508–1575). It was completed in 1551. A large painting, it depicts a peasant market scene, with an abundance of meats and other foods. In the background, it shows a scene from the biblical theme of the flight into Egypt, where the Virgin Mary is seen stopped on the road, giving alms to the poor. Thus, although the painting seems to be at first sight an ordinary still life concentrating on foodstuffs, it is rich with symbolism; it in fact hides a symbolic religious meaning, and embodies a visual metaphor encouraging spiritual life. Aertsen made a name for himself during the 1550s painting scenes from everyday life in a naturalistic manner.

This sign <!-- in the upper right corner --> reads in [[Flemish dialects

Aertsen's paintings of fruit and vegetable stalls, such as ''Market Scene'' ''(pictured)'', are similar in composition to that of ''A Meat Stall with the Holy Family Giving Alms''.

File:A Meat Stall with the Holy Family Giving Alms - Placard.jpg

File:Pieter Aertsen - Market Scene - Google Art Project.jpg

Category:Paintings in the North Carolina Museum of Art

Category:Paintings of the Flight into Egypt


Prompt: In A Meat Stall with the Holy Family Giving Alms, how is the abstract discussed?

A Meat Stall with the Holy Family Giving Alms is a painting by the Dutch artist Pieter Aertsen (1508–1575). It was completed in 1551. A large painting, it depicts a peasant market scene, with an abundance of meats and other foods. In the background, it shows a scene from the biblical theme of the flight into Egypt, where the Virgin Mary is seen stopped on the road, giving alms to the poor. Thus, although the painting seems to be at first sight an ordinary still life concentrating on foodstuffs, it is rich with symbolism; it in fact hides a symbolic religious meaning, and embodies a visual metaphor encouraging spiritual life. Aertsen made a name for himself during the 1550s painting scenes from everyday life in a naturalistic manner.

This sign <!-- in the upper right corner --> reads in [[Flemish dialects

Aertsen's paintings of fruit and vegetable stalls, such as ''Market Scene'' ''(pictured)'', are similar in composition to that of ''A Meat Stall with the Holy Family Giving Alms''.

File:A Meat Stall with the Holy Family Giving Alms - Placard.jpg

File:Pieter Aertsen - Market Scene - Google Art Project.jpg

Category:Paintings in the North Carolina Museum of Art

Category:Paintings of the Flight into Egypt


Prompt: Focus on A Meat Stall with the Holy Family Giving Alms and explain the Painter.

Pieter Aertsen was a masterful still-life painter from Amsterdam, who worked for many years in Antwerp. He was a representative of the 16th-century Northern Renaissance style, more specifically Northern Mannerism, a new era for painting in the Netherlands and the German countries characterised by precise observation and naturalism that gave the art of painting impulses of realism. Many Northern artists travelled to Italy to study, where they were influenced by the innovations of the Italian Renaissance and in turn influenced the Italian Renaissance painters with techniques such as the newly developed technique of oil painting.Aertsen is regarded as one of the founders of the still life painting. His style was particularly new: he mixed characteristics of the still life and the genre painting in his works, which, like A Meat Stall with the Holy Family Giving Alms, are seen as pioneers in the still life genre that grew out of details of paintings containing figure subjects. His compositions in the Flemish tradition were remarkably original, like this painting of a meat stall, with a large, life-size still life in the foreground and three smaller scenes appearing through openings in the background.Since the Protestants rejected the tradition of Catholic arts, many of Aertsen's paintings were destroyed by the iconoclasts, especially his altarpieces, some of which were chopped into pieces. Only the parts of the paintings containing the less religious details were spared. Thus, the era of religious paintings declined in the Protestant countries. Aertsen painted A Meat Stall a few years before he moved to  Amsterdam from Antwerp.

This sign <!-- in the upper right corner --> reads in [[Flemish dialects

Aertsen's paintings of fruit and vegetable stalls, such as ''Market Scene'' ''(pictured)'', are similar in composition to that of ''A Meat Stall with the Holy Family Giving Alms''.

File:A Meat Stall with the Holy Family Giving Alms - Placard.jpg

File:Pieter Aertsen - Market Scene - Google Art Project.jpg

Category:Paintings in the North Carolina Museum of Art

Category:Paintings of the Flight into Egypt


Prompt: Explain the Painter of this artwork, A Meat Stall with the Holy Family Giving Alms.

Pieter Aertsen was a masterful still-life painter from Amsterdam, who worked for many years in Antwerp. He was a representative of the 16th-century Northern Renaissance style, more specifically Northern Mannerism, a new era for painting in the Netherlands and the German countries characterised by precise observation and naturalism that gave the art of painting impulses of realism. Many Northern artists travelled to Italy to study, where they were influenced by the innovations of the Italian Renaissance and in turn influenced the Italian Renaissance painters with techniques such as the newly developed technique of oil painting.Aertsen is regarded as one of the founders of the still life painting. His style was particularly new: he mixed characteristics of the still life and the genre painting in his works, which, like A Meat Stall with the Holy Family Giving Alms, are seen as pioneers in the still life genre that grew out of details of paintings containing figure subjects. His compositions in the Flemish tradition were remarkably original, like this painting of a meat stall, with a large, life-size still life in the foreground and three smaller scenes appearing through openings in the background.Since the Protestants rejected the tradition of Catholic arts, many of Aertsen's paintings were destroyed by the iconoclasts, especially his altarpieces, some of which were chopped into pieces. Only the parts of the paintings containing the less religious details were spared. Thus, the era of religious paintings declined in the Protestant countries. Aertsen painted A Meat Stall a few years before he moved to  Amsterdam from Antwerp.

This sign <!-- in the upper right corner --> reads in [[Flemish dialects

Aertsen's paintings of fruit and vegetable stalls, such as ''Market Scene'' ''(pictured)'', are similar in composition to that of ''A Meat Stall with the Holy Family Giving Alms''.

File:A Meat Stall with the Holy Family Giving Alms - Placard.jpg

File:Pieter Aertsen - Market Scene - Google Art Project.jpg

Category:Paintings in the North Carolina Museum of Art

Category:Paintings of the Flight into Egypt


Prompt: How does A Meat Stall with the Holy Family Giving Alms explain its Painter?

Pieter Aertsen was a masterful still-life painter from Amsterdam, who worked for many years in Antwerp. He was a representative of the 16th-century Northern Renaissance style, more specifically Northern Mannerism, a new era for painting in the Netherlands and the German countries characterised by precise observation and naturalism that gave the art of painting impulses of realism. Many Northern artists travelled to Italy to study, where they were influenced by the innovations of the Italian Renaissance and in turn influenced the Italian Renaissance painters with techniques such as the newly developed technique of oil painting.Aertsen is regarded as one of the founders of the still life painting. His style was particularly new: he mixed characteristics of the still life and the genre painting in his works, which, like A Meat Stall with the Holy Family Giving Alms, are seen as pioneers in the still life genre that grew out of details of paintings containing figure subjects. His compositions in the Flemish tradition were remarkably original, like this painting of a meat stall, with a large, life-size still life in the foreground and three smaller scenes appearing through openings in the background.Since the Protestants rejected the tradition of Catholic arts, many of Aertsen's paintings were destroyed by the iconoclasts, especially his altarpieces, some of which were chopped into pieces. Only the parts of the paintings containing the less religious details were spared. Thus, the era of religious paintings declined in the Protestant countries. Aertsen painted A Meat Stall a few years before he moved to  Amsterdam from Antwerp.

This sign <!-- in the upper right corner --> reads in [[Flemish dialects

Aertsen's paintings of fruit and vegetable stalls, such as ''Market Scene'' ''(pictured)'', are similar in composition to that of ''A Meat Stall with the Holy Family Giving Alms''.

File:A Meat Stall with the Holy Family Giving Alms - Placard.jpg

File:Pieter Aertsen - Market Scene - Google Art Project.jpg

Category:Paintings in the North Carolina Museum of Art

Category:Paintings of the Flight into Egypt


Prompt: In A Meat Stall with the Holy Family Giving Alms, how is the Painter discussed?

Pieter Aertsen was a masterful still-life painter from Amsterdam, who worked for many years in Antwerp. He was a representative of the 16th-century Northern Renaissance style, more specifically Northern Mannerism, a new era for painting in the Netherlands and the German countries characterised by precise observation and naturalism that gave the art of painting impulses of realism. Many Northern artists travelled to Italy to study, where they were influenced by the innovations of the Italian Renaissance and in turn influenced the Italian Renaissance painters with techniques such as the newly developed technique of oil painting.Aertsen is regarded as one of the founders of the still life painting. His style was particularly new: he mixed characteristics of the still life and the genre painting in his works, which, like A Meat Stall with the Holy Family Giving Alms, are seen as pioneers in the still life genre that grew out of details of paintings containing figure subjects. His compositions in the Flemish tradition were remarkably original, like this painting of a meat stall, with a large, life-size still life in the foreground and three smaller scenes appearing through openings in the background.Since the Protestants rejected the tradition of Catholic arts, many of Aertsen's paintings were destroyed by the iconoclasts, especially his altarpieces, some of which were chopped into pieces. Only the parts of the paintings containing the less religious details were spared. Thus, the era of religious paintings declined in the Protestant countries. Aertsen painted A Meat Stall a few years before he moved to  Amsterdam from Antwerp.

This sign <!-- in the upper right corner --> reads in [[Flemish dialects

Aertsen's paintings of fruit and vegetable stalls, such as ''Market Scene'' ''(pictured)'', are similar in composition to that of ''A Meat Stall with the Holy Family Giving Alms''.

File:A Meat Stall with the Holy Family Giving Alms - Placard.jpg

File:Pieter Aertsen - Market Scene - Google Art Project.jpg

Category:Paintings in the North Carolina Museum of Art

Category:Paintings of the Flight into Egypt


Prompt: Focus on A Meat Stall with the Holy Family Giving Alms and explain the Painting.

The artwork of A Meat Stall with the Holy Family Giving Alms consists of a large painting on panel in oil, depicting a profusion of foodstuffs in a highly realistic style, while the narrative is hidden in the background, seen through the stall windows and openings. Aertsen's paintings were often made in an "inverted still life" style in which the still-life aspects were in the foreground and the narrative aspects in the background. The viewer's senses are distracted by the rich display of various foods – plates in the foreground, meats, ham, lard, smoked fish, pigs' legs and head, bread, butter, milk, cheese and hanging pretzels (in the left corner) – that has been spread out in front of the viewer, and the figure subject is overwhelmed by the still-life composition. The various meats, including sausages, beef, fish, fowl and pork, are arranged on wooden tables, using baskets, pots and plates. A barrel and some wickerwork chairs serve as containers for the food items as well.Almost unnoticed at first are glimpses through the stall windows of an imaginary landscape with a road. Through the smaller window in the middle is a second landscape with a distant view. These small landscapes are hiding a religious narrative: they depict the Holy Family distributing alms on their journey to Egypt to escape from Herod's harassment. The other people depicted on the road are walking in the direction of the church. Both those people and the Holy family are dressed in contemporary Netherlandish clothing. On the right side, behind a figure drawing water from the well, there is a tavern with genre figures depicting a merry company eating oysters and mussels. In front of the tavern hangs a carcass that is very similar to Rembrandt's painting of a slaughtered ox.The ground around the inn is covered with oyster shells, which allude to lust. In the tavern there is a scene showing the biblical theme of the prodigal son, and the woman depicted in the tavern may be a prostitute with her customers. The painting is rich with symbolic representation: it conveys hidden messages. The fish, displayed crossed on a pewter plate, are a reference to Lent, when the faithful abstained from eating meat. The contrast between the charity of the poor fugitives giving alms and the richness and abundance of the food conveys a certain religious symbolism and hidden meaning, linking to the idea of "food for the body" with the idea of "food for the soul", the spiritual "bread of life", appealing to the viewers to turn their attention away from the things of this world. The entire Holy Family is depicted in this part of the painting. Mary, holding the Christ child and riding a donkey, led by Joseph, offers bread to a poor family, sharing what little they have. The young boy and his father are receiving the bread from Mary, with the bread representing the Eucharist. The abundance and richness of the food in the stall is probably a satire on gluttony. The meat can also be seen as a symbolic representation of, and allusion to, the 'weak flesh' (Matthew 26:41). The slaughtered animals may symbolise the death of a believer, a fairly common iconography in the 16th and 17th centuries.In the upper right-hand part of the painting, a handwritten sign is posted on a wood placard. In Flemish, the variety of the Dutch language spoken in Flanders in northern Belgium, it reads, "behind here are 154 rods of land for sale immediately, either by the rod according to your convenience or all at once". Scholarly discussion about the sign has reached a general consensus that the message "functions as a metaphorical commentary on this scene", conveying a warning about society losing spiritual wealth by placing too great an emphasis upon material gain.

This sign <!-- in the upper right corner --> reads in [[Flemish dialects

Aertsen's paintings of fruit and vegetable stalls, such as ''Market Scene'' ''(pictured)'', are similar in composition to that of ''A Meat Stall with the Holy Family Giving Alms''.

File:A Meat Stall with the Holy Family Giving Alms - Placard.jpg

File:Pieter Aertsen - Market Scene - Google Art Project.jpg

Category:Paintings in the North Carolina Museum of Art

Category:Paintings of the Flight into Egypt


Prompt: Explain the Painting of this artwork, A Meat Stall with the Holy Family Giving Alms.

The artwork of A Meat Stall with the Holy Family Giving Alms consists of a large painting on panel in oil, depicting a profusion of foodstuffs in a highly realistic style, while the narrative is hidden in the background, seen through the stall windows and openings. Aertsen's paintings were often made in an "inverted still life" style in which the still-life aspects were in the foreground and the narrative aspects in the background. The viewer's senses are distracted by the rich display of various foods – plates in the foreground, meats, ham, lard, smoked fish, pigs' legs and head, bread, butter, milk, cheese and hanging pretzels (in the left corner) – that has been spread out in front of the viewer, and the figure subject is overwhelmed by the still-life composition. The various meats, including sausages, beef, fish, fowl and pork, are arranged on wooden tables, using baskets, pots and plates. A barrel and some wickerwork chairs serve as containers for the food items as well.Almost unnoticed at first are glimpses through the stall windows of an imaginary landscape with a road. Through the smaller window in the middle is a second landscape with a distant view. These small landscapes are hiding a religious narrative: they depict the Holy Family distributing alms on their journey to Egypt to escape from Herod's harassment. The other people depicted on the road are walking in the direction of the church. Both those people and the Holy family are dressed in contemporary Netherlandish clothing. On the right side, behind a figure drawing water from the well, there is a tavern with genre figures depicting a merry company eating oysters and mussels. In front of the tavern hangs a carcass that is very similar to Rembrandt's painting of a slaughtered ox.The ground around the inn is covered with oyster shells, which allude to lust. In the tavern there is a scene showing the biblical theme of the prodigal son, and the woman depicted in the tavern may be a prostitute with her customers. The painting is rich with symbolic representation: it conveys hidden messages. The fish, displayed crossed on a pewter plate, are a reference to Lent, when the faithful abstained from eating meat. The contrast between the charity of the poor fugitives giving alms and the richness and abundance of the food conveys a certain religious symbolism and hidden meaning, linking to the idea of "food for the body" with the idea of "food for the soul", the spiritual "bread of life", appealing to the viewers to turn their attention away from the things of this world. The entire Holy Family is depicted in this part of the painting. Mary, holding the Christ child and riding a donkey, led by Joseph, offers bread to a poor family, sharing what little they have. The young boy and his father are receiving the bread from Mary, with the bread representing the Eucharist. The abundance and richness of the food in the stall is probably a satire on gluttony. The meat can also be seen as a symbolic representation of, and allusion to, the 'weak flesh' (Matthew 26:41). The slaughtered animals may symbolise the death of a believer, a fairly common iconography in the 16th and 17th centuries.In the upper right-hand part of the painting, a handwritten sign is posted on a wood placard. In Flemish, the variety of the Dutch language spoken in Flanders in northern Belgium, it reads, "behind here are 154 rods of land for sale immediately, either by the rod according to your convenience or all at once". Scholarly discussion about the sign has reached a general consensus that the message "functions as a metaphorical commentary on this scene", conveying a warning about society losing spiritual wealth by placing too great an emphasis upon material gain.

This sign <!-- in the upper right corner --> reads in [[Flemish dialects

Aertsen's paintings of fruit and vegetable stalls, such as ''Market Scene'' ''(pictured)'', are similar in composition to that of ''A Meat Stall with the Holy Family Giving Alms''.

File:A Meat Stall with the Holy Family Giving Alms - Placard.jpg

File:Pieter Aertsen - Market Scene - Google Art Project.jpg

Category:Paintings in the North Carolina Museum of Art

Category:Paintings of the Flight into Egypt


Prompt: How does A Meat Stall with the Holy Family Giving Alms explain its Painting?

The artwork of A Meat Stall with the Holy Family Giving Alms consists of a large painting on panel in oil, depicting a profusion of foodstuffs in a highly realistic style, while the narrative is hidden in the background, seen through the stall windows and openings. Aertsen's paintings were often made in an "inverted still life" style in which the still-life aspects were in the foreground and the narrative aspects in the background. The viewer's senses are distracted by the rich display of various foods – plates in the foreground, meats, ham, lard, smoked fish, pigs' legs and head, bread, butter, milk, cheese and hanging pretzels (in the left corner) – that has been spread out in front of the viewer, and the figure subject is overwhelmed by the still-life composition. The various meats, including sausages, beef, fish, fowl and pork, are arranged on wooden tables, using baskets, pots and plates. A barrel and some wickerwork chairs serve as containers for the food items as well.Almost unnoticed at first are glimpses through the stall windows of an imaginary landscape with a road. Through the smaller window in the middle is a second landscape with a distant view. These small landscapes are hiding a religious narrative: they depict the Holy Family distributing alms on their journey to Egypt to escape from Herod's harassment. The other people depicted on the road are walking in the direction of the church. Both those people and the Holy family are dressed in contemporary Netherlandish clothing. On the right side, behind a figure drawing water from the well, there is a tavern with genre figures depicting a merry company eating oysters and mussels. In front of the tavern hangs a carcass that is very similar to Rembrandt's painting of a slaughtered ox.The ground around the inn is covered with oyster shells, which allude to lust. In the tavern there is a scene showing the biblical theme of the prodigal son, and the woman depicted in the tavern may be a prostitute with her customers. The painting is rich with symbolic representation: it conveys hidden messages. The fish, displayed crossed on a pewter plate, are a reference to Lent, when the faithful abstained from eating meat. The contrast between the charity of the poor fugitives giving alms and the richness and abundance of the food conveys a certain religious symbolism and hidden meaning, linking to the idea of "food for the body" with the idea of "food for the soul", the spiritual "bread of life", appealing to the viewers to turn their attention away from the things of this world. The entire Holy Family is depicted in this part of the painting. Mary, holding the Christ child and riding a donkey, led by Joseph, offers bread to a poor family, sharing what little they have. The young boy and his father are receiving the bread from Mary, with the bread representing the Eucharist. The abundance and richness of the food in the stall is probably a satire on gluttony. The meat can also be seen as a symbolic representation of, and allusion to, the 'weak flesh' (Matthew 26:41). The slaughtered animals may symbolise the death of a believer, a fairly common iconography in the 16th and 17th centuries.In the upper right-hand part of the painting, a handwritten sign is posted on a wood placard. In Flemish, the variety of the Dutch language spoken in Flanders in northern Belgium, it reads, "behind here are 154 rods of land for sale immediately, either by the rod according to your convenience or all at once". Scholarly discussion about the sign has reached a general consensus that the message "functions as a metaphorical commentary on this scene", conveying a warning about society losing spiritual wealth by placing too great an emphasis upon material gain.

This sign <!-- in the upper right corner --> reads in [[Flemish dialects

Aertsen's paintings of fruit and vegetable stalls, such as ''Market Scene'' ''(pictured)'', are similar in composition to that of ''A Meat Stall with the Holy Family Giving Alms''.

File:A Meat Stall with the Holy Family Giving Alms - Placard.jpg

File:Pieter Aertsen - Market Scene - Google Art Project.jpg

Category:Paintings in the North Carolina Museum of Art

Category:Paintings of the Flight into Egypt


Prompt: In A Meat Stall with the Holy Family Giving Alms, how is the Painting discussed?

The artwork of A Meat Stall with the Holy Family Giving Alms consists of a large painting on panel in oil, depicting a profusion of foodstuffs in a highly realistic style, while the narrative is hidden in the background, seen through the stall windows and openings. Aertsen's paintings were often made in an "inverted still life" style in which the still-life aspects were in the foreground and the narrative aspects in the background. The viewer's senses are distracted by the rich display of various foods – plates in the foreground, meats, ham, lard, smoked fish, pigs' legs and head, bread, butter, milk, cheese and hanging pretzels (in the left corner) – that has been spread out in front of the viewer, and the figure subject is overwhelmed by the still-life composition. The various meats, including sausages, beef, fish, fowl and pork, are arranged on wooden tables, using baskets, pots and plates. A barrel and some wickerwork chairs serve as containers for the food items as well.Almost unnoticed at first are glimpses through the stall windows of an imaginary landscape with a road. Through the smaller window in the middle is a second landscape with a distant view. These small landscapes are hiding a religious narrative: they depict the Holy Family distributing alms on their journey to Egypt to escape from Herod's harassment. The other people depicted on the road are walking in the direction of the church. Both those people and the Holy family are dressed in contemporary Netherlandish clothing. On the right side, behind a figure drawing water from the well, there is a tavern with genre figures depicting a merry company eating oysters and mussels. In front of the tavern hangs a carcass that is very similar to Rembrandt's painting of a slaughtered ox.The ground around the inn is covered with oyster shells, which allude to lust. In the tavern there is a scene showing the biblical theme of the prodigal son, and the woman depicted in the tavern may be a prostitute with her customers. The painting is rich with symbolic representation: it conveys hidden messages. The fish, displayed crossed on a pewter plate, are a reference to Lent, when the faithful abstained from eating meat. The contrast between the charity of the poor fugitives giving alms and the richness and abundance of the food conveys a certain religious symbolism and hidden meaning, linking to the idea of "food for the body" with the idea of "food for the soul", the spiritual "bread of life", appealing to the viewers to turn their attention away from the things of this world. The entire Holy Family is depicted in this part of the painting. Mary, holding the Christ child and riding a donkey, led by Joseph, offers bread to a poor family, sharing what little they have. The young boy and his father are receiving the bread from Mary, with the bread representing the Eucharist. The abundance and richness of the food in the stall is probably a satire on gluttony. The meat can also be seen as a symbolic representation of, and allusion to, the 'weak flesh' (Matthew 26:41). The slaughtered animals may symbolise the death of a believer, a fairly common iconography in the 16th and 17th centuries.In the upper right-hand part of the painting, a handwritten sign is posted on a wood placard. In Flemish, the variety of the Dutch language spoken in Flanders in northern Belgium, it reads, "behind here are 154 rods of land for sale immediately, either by the rod according to your convenience or all at once". Scholarly discussion about the sign has reached a general consensus that the message "functions as a metaphorical commentary on this scene", conveying a warning about society losing spiritual wealth by placing too great an emphasis upon material gain.

This sign <!-- in the upper right corner --> reads in [[Flemish dialects

Aertsen's paintings of fruit and vegetable stalls, such as ''Market Scene'' ''(pictured)'', are similar in composition to that of ''A Meat Stall with the Holy Family Giving Alms''.

File:A Meat Stall with the Holy Family Giving Alms - Placard.jpg

File:Pieter Aertsen - Market Scene - Google Art Project.jpg

Category:Paintings in the North Carolina Museum of Art

Category:Paintings of the Flight into Egypt


Prompt: Focus on A Meat Stall with the Holy Family Giving Alms and explain the Versions.

This painting is held by the  North Carolina Museum of Art, but there are at least four versions of the same painting, indicating that it was a famous work at the time, often copied and admired. The different paintings, somewhat differing in size, are: A Meat Stall with the Holy Family Giving Alms at the North Carolina Museum of Art, 115 cm × 165 cm (45.5 in × 65 in); Butcher's Stall with the Flight into Egypt in Gustavianum, University Art Collections, Uppsala University, 123.3 cm × 150 cm (48.5 in × 59.1 in), workshop of the artist; Still Life with Meat and the Holy Family, 111 cm × 165 cm (43.5 in × 65 in), workshop of the artist, hosted at Fundación Banco Santander, and The meat stall with the flight into Egypt, hosted at Bonnefanten Museum, workshop of the artist.Two versions of the painting

This sign <!-- in the upper right corner --> reads in [[Flemish dialects

Aertsen's paintings of fruit and vegetable stalls, such as ''Market Scene'' ''(pictured)'', are similar in composition to that of ''A Meat Stall with the Holy Family Giving Alms''.

File:A Meat Stall with the Holy Family Giving Alms - Placard.jpg

File:Pieter Aertsen - Market Scene - Google Art Project.jpg

Category:Paintings in the North Carolina Museum of Art

Category:Paintings of the Flight into Egypt


Prompt: Explain the Versions of this artwork, A Meat Stall with the Holy Family Giving Alms.

This painting is held by the  North Carolina Museum of Art, but there are at least four versions of the same painting, indicating that it was a famous work at the time, often copied and admired. The different paintings, somewhat differing in size, are: A Meat Stall with the Holy Family Giving Alms at the North Carolina Museum of Art, 115 cm × 165 cm (45.5 in × 65 in); Butcher's Stall with the Flight into Egypt in Gustavianum, University Art Collections, Uppsala University, 123.3 cm × 150 cm (48.5 in × 59.1 in), workshop of the artist; Still Life with Meat and the Holy Family, 111 cm × 165 cm (43.5 in × 65 in), workshop of the artist, hosted at Fundación Banco Santander, and The meat stall with the flight into Egypt, hosted at Bonnefanten Museum, workshop of the artist.Two versions of the painting

This sign <!-- in the upper right corner --> reads in [[Flemish dialects

Aertsen's paintings of fruit and vegetable stalls, such as ''Market Scene'' ''(pictured)'', are similar in composition to that of ''A Meat Stall with the Holy Family Giving Alms''.

File:A Meat Stall with the Holy Family Giving Alms - Placard.jpg

File:Pieter Aertsen - Market Scene - Google Art Project.jpg

Category:Paintings in the North Carolina Museum of Art

Category:Paintings of the Flight into Egypt


Prompt: How does A Meat Stall with the Holy Family Giving Alms explain its Versions?

This painting is held by the  North Carolina Museum of Art, but there are at least four versions of the same painting, indicating that it was a famous work at the time, often copied and admired. The different paintings, somewhat differing in size, are: A Meat Stall with the Holy Family Giving Alms at the North Carolina Museum of Art, 115 cm × 165 cm (45.5 in × 65 in); Butcher's Stall with the Flight into Egypt in Gustavianum, University Art Collections, Uppsala University, 123.3 cm × 150 cm (48.5 in × 59.1 in), workshop of the artist; Still Life with Meat and the Holy Family, 111 cm × 165 cm (43.5 in × 65 in), workshop of the artist, hosted at Fundación Banco Santander, and The meat stall with the flight into Egypt, hosted at Bonnefanten Museum, workshop of the artist.Two versions of the painting

This sign <!-- in the upper right corner --> reads in [[Flemish dialects

Aertsen's paintings of fruit and vegetable stalls, such as ''Market Scene'' ''(pictured)'', are similar in composition to that of ''A Meat Stall with the Holy Family Giving Alms''.

File:A Meat Stall with the Holy Family Giving Alms - Placard.jpg

File:Pieter Aertsen - Market Scene - Google Art Project.jpg

Category:Paintings in the North Carolina Museum of Art

Category:Paintings of the Flight into Egypt


Prompt: In A Meat Stall with the Holy Family Giving Alms, how is the Versions discussed?

This painting is held by the  North Carolina Museum of Art, but there are at least four versions of the same painting, indicating that it was a famous work at the time, often copied and admired. The different paintings, somewhat differing in size, are: A Meat Stall with the Holy Family Giving Alms at the North Carolina Museum of Art, 115 cm × 165 cm (45.5 in × 65 in); Butcher's Stall with the Flight into Egypt in Gustavianum, University Art Collections, Uppsala University, 123.3 cm × 150 cm (48.5 in × 59.1 in), workshop of the artist; Still Life with Meat and the Holy Family, 111 cm × 165 cm (43.5 in × 65 in), workshop of the artist, hosted at Fundación Banco Santander, and The meat stall with the flight into Egypt, hosted at Bonnefanten Museum, workshop of the artist.Two versions of the painting

This sign <!-- in the upper right corner --> reads in [[Flemish dialects

Aertsen's paintings of fruit and vegetable stalls, such as ''Market Scene'' ''(pictured)'', are similar in composition to that of ''A Meat Stall with the Holy Family Giving Alms''.

File:A Meat Stall with the Holy Family Giving Alms - Placard.jpg

File:Pieter Aertsen - Market Scene - Google Art Project.jpg

Category:Paintings in the North Carolina Museum of Art

Category:Paintings of the Flight into Egypt


Girl Interrupted at Her Music

Prompt: Focus on Girl Interrupted at Her Music and explain the abstract.

Girl Interrupted at Her Music (Dutch: Onderbreking van de muziek) is a painting by the Dutch artist Johannes Vermeer. It was painted in the baroque style, probably between the years 1658 and 1659, using oil on canvas. Since 1901 it has been in the Frick Collection in New York City.In this painting, Vermeer depicts a woman at her music with a gentleman beside her. This painting shows the typical courtship during the 17th century in Europe. It also focuses on the importance of music when it comes to love. The room that they are shown in is one of higher class, most likely belonging to a person of haute bourgeoisie. The painting is very reminiscent of Vermeer’s other works.

Category:Paintings in the Frick Collection

Category:Genre paintings by Johannes Vermeer


Girl Interrupted at Her Music

Prompt: Explain the abstract of this artwork, Girl Interrupted at Her Music.

Girl Interrupted at Her Music (Dutch: Onderbreking van de muziek) is a painting by the Dutch artist Johannes Vermeer. It was painted in the baroque style, probably between the years 1658 and 1659, using oil on canvas. Since 1901 it has been in the Frick Collection in New York City.In this painting, Vermeer depicts a woman at her music with a gentleman beside her. This painting shows the typical courtship during the 17th century in Europe. It also focuses on the importance of music when it comes to love. The room that they are shown in is one of higher class, most likely belonging to a person of haute bourgeoisie. The painting is very reminiscent of Vermeer’s other works.

Category:Paintings in the Frick Collection

Category:Genre paintings by Johannes Vermeer


Girl Interrupted at Her Music

Prompt: How does Girl Interrupted at Her Music explain its abstract?

Girl Interrupted at Her Music (Dutch: Onderbreking van de muziek) is a painting by the Dutch artist Johannes Vermeer. It was painted in the baroque style, probably between the years 1658 and 1659, using oil on canvas. Since 1901 it has been in the Frick Collection in New York City.In this painting, Vermeer depicts a woman at her music with a gentleman beside her. This painting shows the typical courtship during the 17th century in Europe. It also focuses on the importance of music when it comes to love. The room that they are shown in is one of higher class, most likely belonging to a person of haute bourgeoisie. The painting is very reminiscent of Vermeer’s other works.

Category:Paintings in the Frick Collection

Category:Genre paintings by Johannes Vermeer


Girl Interrupted at Her Music

Prompt: In Girl Interrupted at Her Music, how is the abstract discussed?

Girl Interrupted at Her Music (Dutch: Onderbreking van de muziek) is a painting by the Dutch artist Johannes Vermeer. It was painted in the baroque style, probably between the years 1658 and 1659, using oil on canvas. Since 1901 it has been in the Frick Collection in New York City.In this painting, Vermeer depicts a woman at her music with a gentleman beside her. This painting shows the typical courtship during the 17th century in Europe. It also focuses on the importance of music when it comes to love. The room that they are shown in is one of higher class, most likely belonging to a person of haute bourgeoisie. The painting is very reminiscent of Vermeer’s other works.

Category:Paintings in the Frick Collection

Category:Genre paintings by Johannes Vermeer