Rapid method of Neo

skoprande ke sa filin ir sekra inkontros kon Prins August, parsir sodene ol shen, e, kongedinde la personeyo, ley kondanir a un strikta riklud in Windsor Park. “Deo Toposa me diu duldo”, el exklamir, kadande ol zunos in un detro d’ajit; dan el resaltir, shendir kurse lo skal, exir nel veo, rufir un кос ki pasir, e kursir ver lo dom de sa matro in Bayswater. El sir skoprat, persekat, e ende, cedande al suados de sa onklos, Duxos de York e Sussex, de Brougham e del Vesko de Salisbury, el bakir a Carlton House a du ma tine. El sir rikludat in Windsor, mo so udir plu nilo dal Prins d’Orango. Prins Augustus diparsir an. Lo veg sir ende apra pol Prins Leopold de Sax-Koburg.

Lytton Strachey.

RESKOPRAT TRESOROS NEL PRAHA KASTEL NUN VIDIBLA

Da na specala korespondent — Praha.

Lo grup del kadros del Arab-Republik-Ambasado identat yopokvekos as opro de Tiepolo sar un segno kan mesme maja artopros par si submirat van zi jar “part dcllandel”. In un expon nun prezentat nel Praha Kastel, ye с qinis exemplos del sam fenomen, plulunos de som granesta artistos.

L’expon sir ordelat ut konadi al Cekoslovaka poplo l’astonifa rizultos del treanya istora studo del Praha Kastel Galerio ke l’lnstitut d’Art-Teorio- e Istor, derkat pe Jaromir Neumann, emprenir les instruos del Restor-Konselyeo del Kastel.

Ye 74 opros exponat, dey somunos maja kadros de tal maestros as Rubens, Tintoretto, Tiziano e Veronese, ki no sinda korekte atribat dun plul seklos. Somunos d’et kadros langir nel skuro del rizervos del Hraddani Kastel, e mesos de dulda stud e restor sir nesa pre za origo pir si diskelat.

Plus kadros del nuna expon, dok, entrar nel sam kategorio de neglat cefopros as los Tiepolo de London. Cir du trimos de zi, fakte, pendir dun anyos nel atryos, skalos, kontoros e galerios del senorda bildo ki domenar l’urbo, kon no plu qam un asta miro dun l’anya inventor.

Al funseros ki dun anyos vivir e laborir in Hraddani, mul d’et kadros certe parir as part del mobleyo. Maja opros de Veronese, Tintoretto e Rubens, po exemplo, sir modeste pendanda ol kastel-muros, erore atribat as “Dal Skol de Bassano”, “Anonima Pinter del 17a seklo” e “Pe un nokonat Artist”. E, gre eto rivelar osa aspektos, sar, lo d’et “egarat cefopros” del Praha Expon ki ilke kolpar l’imagin.

L’istor del Praha Kastel longa e evenplena. It ensir kol Treisanya Guer, van lo Sveda trupos asportir plus kadros e art-objekos ki sir in Hraddany. Van lo guer endir in 1648, Ferdinand III emprenir restori lo kolexos, e, nel samanya vendo Antwerpye del kadros del Dux de Buckingham, no min qam 100 kadros sir kofat po Praha.

Lo Hraddany Kolex kontinuir kreski dul folga anyos del seklo us, ver l’anyo 1700, lo Roy de Boemyo pir vanti un vasta kolex de mul ekos de presya telos.

Mo, apene lo seklo volvir, lo prim transferos de kadros da Praga a Wien — lo nuv cefurbo de los Habsburg — lokedir. Et perioda tranferos, dun

These periodic transfers, during which many hundreds of works were removed from the Prague gallery, continued off and on up to the end of the nineteenth century.

The state of the once-proud Prague Castle collection was now bad enough in all conscience. The picture was further darkened by the numerous errors and blanks that had crept into the inventories in the course of time. Many of the best things had, of cousre, gone to Vienna. Many others had been sold to the Dresden Court and to Munich. But Professor Neumann’s research into the documents and catalogues of the past two centuries has made it abundantly clear that a large number of valuable canvases had in fact remained in Prague, unknown to the authorities.

Scholars may find this faulty cataloguing in Prague lamentable. But it is clear that, had the records been kept more carefully, many of these works would have shared the fate of the bulk of the collection, either under the Habsburgs or a few years later when the nazis occupied Czechoslovakia. Nothing of note was stolen from the Prague Castle collection after about 1860 for the simple reason that no one, either in Prague or elsewhere, thought there was anything left that was worth stealing.

When a detailed survey of the castle’s contents was ordered a few years ago, it was undertaken—at least so far as the paintings were concerned— more with the idea of listing what little was left than with the hope of any important discoveries. Yet discoveries soon began to be made. Professor Neumann and his team of archivists, restorers, and research workers traced the history of these neglected works back through centuries of conflicting catalogue entries. They subjected the canvases themselves to X-ray and ultra-violet photography, they removed overpainting and restored them, analysed paint samples and pondered over compositional patterns.