"The text is a part of the catalogue of fresco paintings executed by painters Carpoforo and Giacomo Tencalla in the Czech Lands. We begin the catalogue of works by Carpoforo Tencalla with the cycle of frescoes in the sala terrena of the Renaissance Moravian chateau in N\u00E1m\u011B\u0161\u0165 nad Oslavou (Namiest). In contrast to earlier views, which believed the N\u00E1m\u011B\u0161\u0165 paintings originated from the mid-1670s, we date these works to around 1656\u20131657, and, together with the paintings in the Slovak chateau \u010Cerven\u00FD Kame\u0148 (1655), we consider them to be one of the oldest projects by Carpoforo Tencalla north of the Alps. This cycle contains a group of scenes from the legend of Cupid and Psyche, painted after older graphic models designed by Michiel Coxcie, executed by the Master of the Die and Agostino Veneziano, and published by Antonio Salamanca in Rome between 1530 and 1560. The main series of themes is completed by personifications of the Virtues, the Vices, and physical and mental states, taken from Ripa\u00B4s Iconologia, and Ovidian motifs inspired by prints by Johann Wilhelm Baur from the years 1639\u20131641. The cycle as a whole has a sceptical conclusion \u2013 the group of scenes with Cupid and Psyche does not finish with a wedding and a feast of the Olympians, as was usual in the 16th and 17th centuries, but with Psyche leaving for the underworld. In the selection of personifications appear motifs linked with mental and physical hardship. We believe that the paintings were commissioned by Ferdinand von Verdenberg (1625\u20131666), whose first two wives \u2013 Maria Susanna von Puchheim (1630\u20131650) and Maria Maximiliana of Waldstein (1636\u20131654) \u2013 died soon after each other, in both cases after only a short period of married life. We assume that the choice of themes in N\u00E1m\u011B\u0161\u0165 nad Oslavou reflect these calamitous family events and the personal tragedy of the young Verdenberg."@en . . . "N\u00E1m\u011B\u0161\u0165 nad Oslavou. Z\u00E1mek: sala terrena. Katalog n\u00E1st\u011Bnn\u00FDch maleb"@cs . "3"^^ . "[885736E21F40]" . . . "Barokn\u00ED n\u00E1st\u011Bnn\u00E1 malba v \u010Desk\u00FDch zem\u00EDch. Tencalla II" . "Zapletalov\u00E1, Jana" . "N\u00E1m\u011B\u0161\u0165 nad Oslavou. The chateau : sala terrena. The catalogue of the ceiling paintings"@en . "M\u00E1dl, Martin" . "978-80-86890-60-9" . "N\u00E1m\u011B\u0161\u0165 nad Oslavou. Z\u00E1mek: sala terrena. Katalog n\u00E1st\u011Bnn\u00FDch maleb" . "90552" . . . . . "Miltov\u00E1, Radka" . . "Text je sou\u010D\u00E1st\u00ED katalogu n\u00E1st\u011Bnn\u00FDch maleb Carpofora a Giacoma Tencally na \u00FAzem\u00ED \u010Desk\u00FDch zem\u00ED. Na za\u010D\u00E1tek katalogu d\u011Bl Carpofora Tencally stav\u00EDme freskov\u00FD cyklus v sale terren\u011B renesan\u010Dn\u00EDho moravsk\u00E9ho z\u00E1mku v N\u00E1m\u011B\u0161ti nad Oslavou. Oproti star\u0161\u00EDm n\u00E1zor\u016Fm, kter\u00E9 p\u0159edpokl\u00E1daly vznik n\u00E1m\u011B\u0161\u0165sk\u00FDch maleb kolem poloviny sedmdes\u00E1t\u00FDch let 17. stolet\u00ED, klademe tyto pr\u00E1ce zhruba do let 1656\u20131658 a spolu s malbami na slovensk\u00E9m z\u00E1mku \u010Cerven\u00FD Kame\u0148 (1655) je pova\u017Eujeme za jeden z nejstar\u0161\u00EDch projekt\u016F Carpofora Tencally severn\u011B od Alp. Tento cyklus obsahuje soubor v\u00FDjev\u016F z b\u00E1je o Amoru a Ps\u00FDch\u00E9, proveden\u00FD podle star\u0161\u00EDch grafick\u00FDch p\u0159edloh navr\u017Een\u00FDch Michielem Coxciem, proveden\u00FDch Mistrem s kostkou a Agostinem Venezianem a vydan\u00FD Antoniem Salamancou v \u0158\u00EDm\u011B mezi l\u00E9ty 1530\u20131560. Hlavn\u00ED n\u00E1m\u011Btovou \u0159adu tu dopl\u0148uj\u00ED personifikace Ctnost\u00ED, Ne\u0159est\u00ED a fyzick\u00FDch i psychick\u00FDch stav\u016F, p\u0159evzat\u00FDch z Ripovy Iconologie, a ovidiovsk\u00E9 motivy inspirovan\u00E9 grafick\u00FDmi listy Johanna Wilhelma Baura z let 1639\u20131641. Cel\u00FD cyklus m\u00E1 skeptick\u00E9 vy\u00FAst\u011Bn\u00ED \u2013 soubor v\u00FDjev\u016F s Amorem a Ps\u00FDch\u00E9 nekon\u010D\u00ED svatbou a hostinou Olympan\u016F, jak b\u00FDvalo v 16. a 17. stolet\u00ED zvykem, n\u00FDbr\u017E odchodem Ps\u00FDch\u00E9 do podsv\u011Bt\u00ED. Ve v\u00FDb\u011Bru personifikac\u00ED se objevuj\u00ED motivy spjat\u00E9 s du\u0161evn\u00EDm i fyzick\u00FDm str\u00E1d\u00E1n\u00EDm. Za objednavatele maleb pova\u017Eujeme hrab\u011Bte Ferdinanda z Verdenberka (1625\u20131666), kter\u00E9mu brzy po sob\u011B, po nedlouh\u00E9m man\u017Eelstv\u00ED, zem\u0159ely jeho prvn\u00ED dv\u011B man\u017Eelky \u2013 Marie Zuzana z Puchheimu (1630\u20131650) a Marie Maxmili\u00E1na z Vald\u0161tejna (1634\u20131654). P\u0159edpokl\u00E1d\u00E1me, \u017Ee volba n\u00E1m\u011Btu v N\u00E1m\u011B\u0161ti nad Oslavou reflektuje tyto pohnut\u00E9 rodinn\u00E9 ud\u00E1losti a osobn\u00ED trag\u00E9dii mlad\u00E9ho Verdenberka."@cs . . "RIV/68378033:_____/13:00430872!RIV15-GA0-68378033" . . "Praha" . "N\u00E1m\u011B\u0161\u0165 nad Oslavou. The chateau : sala terrena. The catalogue of the ceiling paintings"@en . "I, P(GA408/09/0949)" . . "53"^^ . "\u00DAstav d\u011Bjin um\u011Bn\u00ED AV \u010CR. Vydavatelstv\u00ED Artefactum" . . "3"^^ . "647"^^ . "N\u00E1m\u011B\u0161\u0165 nad Oslavou. Z\u00E1mek: sala terrena. Katalog n\u00E1st\u011Bnn\u00FDch maleb" . . . "N\u00E1m\u011B\u0161\u0165 nad Oslavou. Z\u00E1mek: sala terrena. Katalog n\u00E1st\u011Bnn\u00FDch maleb"@cs . . "RIV/68378033:_____/13:00430872" . . . "Text je sou\u010D\u00E1st\u00ED katalogu n\u00E1st\u011Bnn\u00FDch maleb Carpofora a Giacoma Tencally na \u00FAzem\u00ED \u010Desk\u00FDch zem\u00ED. Na za\u010D\u00E1tek katalogu d\u011Bl Carpofora Tencally stav\u00EDme freskov\u00FD cyklus v sale terren\u011B renesan\u010Dn\u00EDho moravsk\u00E9ho z\u00E1mku v N\u00E1m\u011B\u0161ti nad Oslavou. Oproti star\u0161\u00EDm n\u00E1zor\u016Fm, kter\u00E9 p\u0159edpokl\u00E1daly vznik n\u00E1m\u011B\u0161\u0165sk\u00FDch maleb kolem poloviny sedmdes\u00E1t\u00FDch let 17. stolet\u00ED, klademe tyto pr\u00E1ce zhruba do let 1656\u20131658 a spolu s malbami na slovensk\u00E9m z\u00E1mku \u010Cerven\u00FD Kame\u0148 (1655) je pova\u017Eujeme za jeden z nejstar\u0161\u00EDch projekt\u016F Carpofora Tencally severn\u011B od Alp. Tento cyklus obsahuje soubor v\u00FDjev\u016F z b\u00E1je o Amoru a Ps\u00FDch\u00E9, proveden\u00FD podle star\u0161\u00EDch grafick\u00FDch p\u0159edloh navr\u017Een\u00FDch Michielem Coxciem, proveden\u00FDch Mistrem s kostkou a Agostinem Venezianem a vydan\u00FD Antoniem Salamancou v \u0158\u00EDm\u011B mezi l\u00E9ty 1530\u20131560. Hlavn\u00ED n\u00E1m\u011Btovou \u0159adu tu dopl\u0148uj\u00ED personifikace Ctnost\u00ED, Ne\u0159est\u00ED a fyzick\u00FDch i psychick\u00FDch stav\u016F, p\u0159evzat\u00FDch z Ripovy Iconologie, a ovidiovsk\u00E9 motivy inspirovan\u00E9 grafick\u00FDmi listy Johanna Wilhelma Baura z let 1639\u20131641. Cel\u00FD cyklus m\u00E1 skeptick\u00E9 vy\u00FAst\u011Bn\u00ED \u2013 soubor v\u00FDjev\u016F s Amorem a Ps\u00FDch\u00E9 nekon\u010D\u00ED svatbou a hostinou Olympan\u016F, jak b\u00FDvalo v 16. a 17. stolet\u00ED zvykem, n\u00FDbr\u017E odchodem Ps\u00FDch\u00E9 do podsv\u011Bt\u00ED. Ve v\u00FDb\u011Bru personifikac\u00ED se objevuj\u00ED motivy spjat\u00E9 s du\u0161evn\u00EDm i fyzick\u00FDm str\u00E1d\u00E1n\u00EDm. Za objednavatele maleb pova\u017Eujeme hrab\u011Bte Ferdinanda z Verdenberka (1625\u20131666), kter\u00E9mu brzy po sob\u011B, po nedlouh\u00E9m man\u017Eelstv\u00ED, zem\u0159ely jeho prvn\u00ED dv\u011B man\u017Eelky \u2013 Marie Zuzana z Puchheimu (1630\u20131650) a Marie Maxmili\u00E1na z Vald\u0161tejna (1634\u20131654). P\u0159edpokl\u00E1d\u00E1me, \u017Ee volba n\u00E1m\u011Btu v N\u00E1m\u011B\u0161ti nad Oslavou reflektuje tyto pohnut\u00E9 rodinn\u00E9 ud\u00E1losti a osobn\u00ED trag\u00E9dii mlad\u00E9ho Verdenberka." . "Carpoforo Tencalla; ceiling paintings; legend of Cupid and Psyche"@en .