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Dissertations / Theses on the topic 'Valtellina (Italy) – History – 17th Century'
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1
Rushing-Raynes, Laura. "A history of the Venetian sacred solo motet (c. 1610--1720)." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185473.
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In 17th century Italy, the trend toward small sacred concertato forms precipitated the publication of a number of volumes devoted exclusively to sacred solo vocal music. Several of these, including the Ghirlanda sacra (Gardano, 1625) and Motetti a voce sola (Gardano, 1645) contain sacred solo motets by some of the best Italian composers of the period. Venetian composers were at the forefront of the move toward the smaller concertato forms and, to fulfill various needs of church musicians, wrote in an increasingly virtuoso style intended to highlight the solo voice. This study traces the development of the solo motet in the sacred works of Venetian composers from the time of Monteverdi to Vivaldi. It revolves around sacred solo motets composed at Saint Marks and the Venetian ospedali (orphanages). It includes works of Alessandro Grandi, Claudio Monteverdi, Francesco Cavalli, and Antonio Vivaldi. It also deals with solo motets of lesser composers whose works are available in modern critical and performing editions or in recently published facsimiles. In addition to providing a more detailed survey of the genre than has been previously available, this study provides an overview of highly performable (but largely neglected) repertoire.
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O'Neil, Maryvelma Smith. "Giovanni Baglione : seventeenth-century artist, draughtsman and biographer of artists." Thesis, University of Oxford, 1989. http://ora.ox.ac.uk/objects/uuid:b1494a9e-8c16-4d48-9553-0f63da44cb6c.
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This thesis explores Baglione's contributions to art and to the history of art by examining the nature of his artistic and critical originality and the significant influences thereon. In the work for which he is best known, Le Vite ... (1642), Baglione was an interesting and generous critic who was unusually receptive to pictorial effects, even when in architecture and sculpture. He assesses Caravaggio's accomplishments with well chosen observations thereby breaking his restriction to discuss only accessible works of art. A broad view of his paintings and drawings shows Baglione's complex, original and thoughtful voyage of discovery assisted by the intelligence with which he absorbed artistic influences, particularly from Raphael and the Cavalier d'Arpino. His refined style of drawing distances him from Caravaggio. In paintings from the first decade, light and shadow give form to graceful figures enveloped in voluminous garments. After 1610 the compositions become more inventive and increasingly Baroque. Baglione's attempt to make a synthesis out of ideal generalization and naturalistic description and to explore new subject matter constituted a search for a "maniera propria" that combined stylistic originality with a penchant for unusual iconography. The most important trends in Baglione's draughtsmanship are the tendency towards a broader, freer handling and the versatility with which he handles the technical means at his disposal. Though he often crosses over the line into the Baroque, the idealism of his Tusco-Roman formation and fondness for angular lines constrain him from fully yielding to a dynamic disposition. His very personal style can be seen in a number of drawings from the 1620s and 1630s that attain a remarkable pictorial aspect and a Baroque quality of sensual presence. His sophisticated use of the three chalk technique prefigures the form dissolving effects to be popularized by Watteau. At the same time, the defining contour line that emphasizes integrity is not abandoned.
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Giselbrecht, Elisabeth Anna. "Crossing boundaries : the printed dissemination of Italian sacred music in German-speaking areas (1580-1620)." Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/283907.
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Chung, Kyung-Young. "Reconsidering the Lament: Form, Content, and Genre in Italian Chamber Recitative Laments: 1600-1640." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4668/.
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Scholars have considered Italian chamber recitative laments only a transitional phenomenon between madrigal laments and laments organized on the descending tetrachord bass. However, the recitative lament is distinguished from them by its characteristic attitude toward the relationship between music and text. Composer of Italian chamber recitative laments attempted to express more subtle, refined and sometimes complicated emotion in their music. For that purpose, they intentionally created discrepancies between text and music. Sometimes they even destroy the original structure of text in order to clearly deliver the composer's own voice. The basic syntactic structure is deconstructed and reconstructed along with their reading and according to their intention. The discrepancy between text and music is, however, expectable and natural phenomena since text cannot be completely translated or transformed to music and vice versa. The composers of Italian chamber recitative laments utilized their innate heterogeneity between two materials (music and text) as a metaphor that represents the semantic essence of the genre, the conflict. In this context, Italian chamber recitative laments were a real embodiment of the so-called seconda prattica and through the study of them, finally, we more fully able to understand how the spirit of late Renaissance flourished in Italy in the first four decade of the seventeenth century.
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Yoshioka, Masataka. "Singing the Republic: Polychoral Culture at San Marco in Venice (1550-1615)." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33220/.
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During the late sixteenth and early seventeenth centuries, Venetian society and politics could be considered as a "polychoral culture." The imagination of the republic rested upon a shared set of social attitudes and beliefs. The political structure included several social groups that functioned as identifiable entities; republican ideologies construed them together as parts of a single harmonious whole. Venice furthermore employed notions of the republic to bolster political and religious independence, in particular from Rome. As is well known, music often contributes to the production and transmission of ideology, and polychoral music in Venice was no exception. Multi-choir music often accompanied religious and civic celebrations in the basilica of San Marco and elsewhere that emphasized the so-called "myth of Venice," the city's complex of religious beliefs and historical heritage. These myths were shared among Venetians and transformed through annual rituals into communal knowledge of the republic. Andrea and Giovanni Gabrieli and other Venetian composers wrote polychoral pieces that were structurally homologous with the imagination of the republic. Through its internal structures, polychoral music projected the local ideology of group harmony. Pieces used interaction among hierarchical choirs - their alternation in dialogue and repetition - as rhetorical means, first to create the impression of collaboration or competition, and then to bring them together at the end, as if resolving discord into concord. Furthermore, Giovanni Gabrieli experimented with the integration of instrumental choirs and recitative within predominantly vocal multi-choir textures, elevating music to the category of a theatrical religious spectacle. He also adopted and developed richer tonal procedures belonging to the so-called "hexachordal tonality" to underscore rhetorical text delivery. If multi-choir music remained the central religious repertory of the city, contemporary single-choir pieces favored typical polychoral procedures that involve dialogue and repetition among vocal subgroups. Both repertories adopted clear rhetorical means of emphasizing religious notions of particular political significance at the surface level. Venetian music performed in religious and civic rituals worked in conjunction with the myth of the city to project and reinforce the imagination of the republic, promoting a glorious image of greatness for La Serenissima.
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Lamal, Nina. "Le orecchie si piene di Fiandra : Italian news and histories on the Revolt in the Netherlands (1566-1648)." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/6902.
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This thesis examines the Italian news reports, political debates and histories of the revolt in the Netherlands between 1566 and 1648. Many Italians were directly involved in this conflict and were keen narrators of these wars. Despite this, a systematic study of the Italian interest for the conflict has not yet been undertaken. This thesis argues that the complex political constellation of the Italian peninsula, dominated by the Habsburg monarchy, shaped the Italian news, debates and interpretations of the Dutch Revolt. Chapter one examines the different ways in which news from the Low Countries reached Italian states. It demonstrates that Italian military officers, active on the battlefield in the Netherlands in the Habsburg army, played a crucial role as purveyors of news and opinion on the conflict. The two following chapters study the circulation of political treatises on the Italian peninsula. Chapter two reconstructs the debates sparked by the events in the Low Countries between 1576 and 1577. Chapter three examines the descriptions of the emergence of a new state in the Northern Netherlands and the discourses on war and peace between 1590 and 1609. Chapter four looks into the development of a market for printed news pamphlets and explores the connections between manuscript and printed news. Chapter five studies how news was used by Italian history writers in their contemporary chronicles. It also investigates how these authors celebrated Italian protagonists in the war as Italian and Catholic heroes. The conclusion examines the evolution of all these Italian discourses related to Dutch Revolt.
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Hill, Michael. "Cardinal Scipione Borghese's patronage of ecclesiastical architecture, 1605-1633." Phd thesis, Faculty of Arts, 1998. http://hdl.handle.net/2123/16344.
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Montanari, Anna Maria. "'A heart in Egypt' : Cleopatra on the Renaissance stage in Italy and England." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709112.
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Rocco, Patricia. "Performing female artistic identity : Lavinia Fontana, Elisabetta Sirani and the allegorical self-portrait in sixteenth and seventeenth-century Bologna." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99389.
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Artemisia Gentileschi's self-portrait, Allegory of Painting, painted in 1630, has activated a complex discussion of female artistic identity in which performance is tied to concerns with status. This thesis addresses an earlier history of development in allegorical self-portraiture in the work of the sixteenth-century Bolognese artist, Lavinia Fontana, and her seventeenth-century successor, Elisabetta Sirani. I argue that the female artist's negotiation for status was played out in the transformation from a more official mode of self presentation, such as Fontana's Self-Portrait at the Keyboard , to a deliberate performative shift of embodied personification in her self-portrait as Judith with the head of Holofernes and her later self portraits as St. Barbara in the Apparition of the Madonna and Child to the Five Saints. This negotiation of artistic status continues with Sirani's self-portraits in Judith and the Allegory of Painting, and as what I suggest are more ambiguous and ambitious representations of anti-heroines, Cleopatra and Circe. I also discuss the important role that the emerging genre of biography plays in the female artist's struggle for status. The thesis explores the shift in visual conventions in relation to discourses of artistic identity, gender and genre---such as the donnesca mano---that circulated in Renaissance historiography in Italy, and more specifically, in the cultural milieu of Bologna.
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Gavito, Cory Michael. "Carlo Milanuzzi's Quarto scherzo and the climate of Venetian popular music in the 1620s." Thesis, view full-text document, 2001. http://www.library.unt.edu/theses/open/20012/gavito%5Fcory/index.htm.
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Scheu, Julia. "Ut pictura philosophia." Doctoral thesis, Humboldt-Universität zu Berlin, Kultur-, Sozial- und Bildungswissenschaftliche Fakultät, 2017. http://dx.doi.org/10.18452/17801.
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Die Untersuchung widmet sich der visuellen Thematisierung autoreferentieller Fragestellungen zur Genese sowie den Grundlagen und Zielen von Malerei in der italienischen Druckgraphik des ausgehenden 16. und 17. Jahrhunderts. Erstmals wird diese bildliche Auseinandersetzung mit abstrakten kunsttheoretischen Inhalten zum zentralen Untersuchungsgegenstand erklärt und anhand von vier hinsichtlich ihrer ikonographischen Dichte herausragenden druckgraphischen Beispielen - Federico Zuccaris Lamento della pittura, Pietro Testas Liceo della pittura, Salvator Rosas Genio di Salvator Rosa und Carlo Marattas Scuola del Disegno – vergleichend analysiert. Neben der Rekonstruktion der Entstehungszusammenhänge befasst sich die Analyse mit dem Verhältnis von Text und Bild, offenen Fragen der Ikonographie, der zeitgenössischen Verlagssituation sowie dem Adressatenkreis und somit schließlich der Motivation für jene komplexen bildlichen Reflexionen über Malerei. Als zentrale Gemeinsamkeit der kunsttheoretischen Blätter, welche im Kontext der römischen Akademiebewegung entstanden sind, konnte das Bestreben, die Malerei im Sinne einer Metawissenschaft über das neuzeitliche Wissenschaftspanorama hinauszuheben, erschlossen werden. Anhand einer umfassenden Neubewertung der einzigartigen Ikonographien wird erstmals aufgezeigt, dass dem Vergleich zwischen Malerei und Philosophie als der Mutter aller Wissenschaften in der visuellen Kunsttheorie des 17. Jahrhunderts eine vollkommen neuartige Bedeutung zukommt. Dieser hat neue Spielräume für die bildliche Definition des künstlerischen Selbstverständnisses eröffnet, die der traditionelle, aus dem Horazschen Diktum „Ut pictura poesis“ hervorgegangene Vergleich zwischen Malerei und Dichtung nicht in ausreichender Form bereit hielt. Folglich thematisiert die vorliegende Untersuchung auch die Frage nach dem spezifischen reflexiven Potenzial des Bildes, seiner medialen Autonomie und seiner möglichen Vorrangstellung gegenüber dem Medium der Sprache.The study deals with the pictorial examination of self-implicating topics relating to the genesis, the fundamentals and the aims of painting by Italian printmaking of the late 16th and 17th century. For the first time, a research is focussed on the pictorial examination of abstract contents of art theory as shown in the selected and compared examples which are extraordinary regarding their iconographical concentration – the Lamento della pittura by Federico Zuccari, the Liceo della pittura by Pierto Testa, the Genio di Salvator Rosa by Salvator Rosa and the Scuola del Disegno by Carlo Maratta. Besides the reconstruction of the history of origins the research is dealing with the relationship of image and text, problems of iconography, the coeval publishing situation as well as the target audience of these prints and finally the motivation for those very complex visual reflections on painting. As essential similarity of those arttheoretical prints, which all araised within the context of the Roman Art Accademy, has been determined the ambition to specify painting as a kind of Meta-science, which is somehow superior to all other modern age sciences. By means of an extensive reevaluation of the unique iconography of every single sheet it became feasible to illustrate that the comparison between painting and philosophy as the origin of the entire spectrum of sciences has attained a completely new dimension within the pictorial art theory of the 17th century. The novel comparison has opened a wider range and diversity for the visual definition of the artists` self-conception compared to the traditional comparison between painting and poetry, as it emerged from the dictum „Ut pictura poesis“ by Horaz. Accordingly the study deals with the question of the particular reflexive capability of images, their medial autonomy and their potential primacy over language.
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WENDLAND, Andreas. "Der Nutzen der Paesse und die Gefaehrdung der Seelen : Spanien, Mailand und der Kampf ums Veltlin (1620-41)." Doctoral thesis, 1993. http://hdl.handle.net/1814/6015.
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Defence date: 3 June 1993Examining board: Prof. Dr. Pablo Fernández Albaladejo, Universidad Autónoma - Madrid ; Prof. Dr. Franco Angiolini, I.U.E. - Firenze (supervisor) ; Dr. Georg Lutz, Istituto Storico Germanico - Roma ; Prof. Ilja Mieck, Freie Universität Berlin ; Prof. Dr. Alessandro Pastore , Università di Verona
PDF of thesis uploaded from the Library digitised archive of EUI PhD theses completed between 2013 and 2017
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GARCÍA-MONTÓN, Alejandro. "Génova y el Atlántico (c.1650-1680) : emprendedores mediterráneos frente al auge del capitalismo del norte." Doctoral thesis, 2014. http://hdl.handle.net/1814/32113.
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Defence date: 18 June 2014Examining Board: Professor Bartolomé Yun-Casalilla, EUI-Universidad Pablo de Olavide (Director) Professor Regina Grafe, EUI Professor Cátia Antunes, Leiden University Professor Maria Fusaro, Exeter University.
While historiography has analyzed the economic rise of northwestern Europe during Seventeenth century, less effort has been devoted to tackle the relative decline of the Mediterranean. Which factors contributed to eclipse the preeminence of south-European merchant-banking networks? How did they react to that shift? This thesis aims at filling that gap by elaborating on the case-study of the Genoese company of Domenico Grillo, offering insight into those questions. The main argument is that the Genoese not only faced increasing competition for the control of exchange circuits but also the reconfiguration of the institutional arrangements that had sustained their previous role as leaders of European financial markets. Challenging the traditional view of decay, this study reveals an astonishing dynamism of Genoese and Italian merchant-bankers in commercial circuits across and within different states and empires, and suggests that these networks adapted rather than collapsed. Furthermore, it shows something perhaps unexpected: the Genoese response went beyond the Mediterranean and encompassed the Atlantic as well. The thesis starts discussing how the Genoese case has been traditionally approached, to then examine the role of those networks in European circuits of exchange. Next, a deep investigation is carried out into the institutional devices supporting Grillo’s business in the Americas, exploring how he collaborated and competed with other actors. The study continues analyzing the trading chains he established across the Mediterranean, Atlantic Europe and the Americas. Finally it focuses on the many times neglected role displayed by the Republic of Genoa in framing the performance of Genoese networks abroad. Using a transnational approach, sources are interrogated in dialogue with the flourishing literature about merchant networks and institutions. Thus, this investigation goes beyond traditional images about the "Genoese capitalism" and revisits one of the axioms underpinning dominant metanarratives about the rise of the so-called "Western civilization".
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LOMBARDI, Daniela. "Povertà maschile, povertà femminile: l'Ospedale dei mendicanti nella Firenze medicea." Doctoral thesis, 1986. http://hdl.handle.net/1814/5884.
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KIRK, Thomas Allison. "Genoa and the sea : ships and power in the early modern Mediterranean (1559-1680)." Doctoral thesis, 1996. http://hdl.handle.net/1814/5857.
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Defence date: 5 July 1996Examining board: Prof. Franco Angiolini, Università degli Studi di Pisa (co-supervisor) ; Prof. Kirti N. Chaudhuri, European University Institute (supervisor) ; Prof. Laurence Fontaine, European University Institute ; Dr. Richard Mackenney, University of Edinburgh ; Prof. Rodolfo Savelli, Università degli Studi di Genova
PDF of thesis uploaded from the Library digitised archive of EUI PhD theses completed between 2013 and 2017
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DALLAVALLE, Lisa. "The ties that bind : marriage, family, and fortune ; a study on English and Venetian families during the seventeenth century." Doctoral thesis, 2017. http://hdl.handle.net/1814/44976.
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Defence date: 23 January 2017Examining Board: Professor Luca Mola, EUI; Professor Ann Thomson, EUI; Professor Anna Bellavitis, University of Rouen; Dr. Felicity Heal, University of Oxford
The Ties that Bind: Marriage, Family, and Fortune offers a fresh perspective on the European family through a parallel study on a group of English and Venetian families during the latter part of the seventeenth century. The families in this study were all connected to the legal profession, and shared a similar socio-professional status. However, their worlds were remarkably distinct, England and Venice were governed by different norms and laws, they represented different sides of the confessional divide, as well as the North-western European divide. These differences had an impact on their experiences of family life. This study will focus on three major themes, marriage strategies, inheritance and family affiliation, and family relationships and hierarchies. Through these three issues, this study will examine in parallel how the different geographical, cultural and legal settings of England and Venice impacted experiences of marriage and family life. Building on a wide range of sources including, testaments, court cases, citizenship reports, family archives, and correspondence, this thesis will examine the English and Venetian families through a series of case studies. In so doing it will provide a broader range of experiences within the family between two rather distinct groups.
Chapter 7 ‘The Moretti family: marital status and domestic authority' of the PhD thesis draws upon an earlier version published as an article 'The Moretti family: late marriage, bachelorhood and domestic authority in Seventeenth-Century Venice' (2015) in the journal ‘Gender & History’
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ESPINOSA, Miguel Palou. "Alfonso Fontanelli (1557-1622), noble y compositor : un estudio socio-cultural sobre la nobleza y la práctica musical en el tardo-renacimiento italiano." Doctoral thesis, 2016. http://hdl.handle.net/1814/40844.
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Defence date: 18 April 2016Examining Board: Profesor Luca Molà, European University Institute, Florence; Profesor Stéphane Van Damme, European University Institute, Florence; Profesor Tim Carter, University of North Carolina at Chapel Hill; Profesor Carmen Sanz Ayán, Universidad Complutense de Madrid.
Many scholars have shown the importance of musical education for noblemen in late Renaissance Italy. For both individuals and groups, music could be used as a tool for process of self-identity, helping them to construct their aesthetical forma del vivere. In fact, along with a sum of literate and aesthetical knowledge, music was an integral element of the culture of la conversazione. Noblemen and noblewomen displayed a large variety of artistic and literary virtues in courtly, academic and private-exclusive gatherings, in order to create distinctive spaces of sociability and self-fashioning. However, could the printing of music, composed by noblemen, affect or contradict their socio-cultural rules of distinction, exclusiveness and discretion? To address this issue, my dissertation will focus on the period between 1570 and 1620, in the Italian peninsula; where there was a major accumulation of composers who identified themselves as nobili or gentiluomini on the covers of their books. Through the case of count Alfonso Fontanelli, from Reggio Emilia, the aim of this thesis is to explore the role of musical composition in nobles' cultural sociability (incorporated in friendly and patronage networks) and the processes of construction of Fontanelli's cultural selfprestige. Fontanelli's biography provides a variety of socio-cultural experiences and interactions in the three different cities where he displayed his musical virtues: Ferrara, Rome and Florence. Hence, this case study allows us to compare the diverse functions of music for the nobility of these three cities (considering their respective socio-political and cultural particularities) as well as to contrast Fontanelli with other noble composers of the time. Finally, the results of this thesis will offer interesting reflections about the plasticity of noble culture and its relation with music, the diversity of socio-cultural strategies through musical practices, and the complex social dynamics involved in the concept of "authorship" in printed music.
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FANTONI, Marcello. "La citta del Principe :Spazio urbano e potere principesco nell'Italia dei secoli XIV-XVII." Doctoral thesis, 1991. http://hdl.handle.net/1814/5756.
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VON, TIPPELSKIRCH Xenia. "Sotto controllo : letture femminili all'inizio dell'epoca moderna in Italia." Doctoral thesis, 2003. http://hdl.handle.net/1814/5999.
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Defence date: 2 October 2003Examining board: John Brewer, IUE/California Institute of Technology (supervisor) ; Hans Erich Bödeker, IUE/Max-Planck-Institut Göttingen ; Peter Burke, University of Cambridge ; Mario Infelise, Università degli Studi di Venezia
PDF of thesis uploaded from the Library digitised archive of EUI PhD theses completed between 2013 and 2017
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EVANGELISTI, Silvia. "La povertà impossibile : monache, famiglia e proprietà in Italia (secc XVI-XVIII)." Doctoral thesis, 1998. http://hdl.handle.net/1814/5758.
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Defence date: 30 April 1998Examining board: Prof. Renata Ago, Università di Cagliari ; Prof. Gérard Delille, Istituto Universitario Europeo ; Prof. Olwen Hufton, Morton College Oxford (Supervisor) ; Prof. Gianna Pomata, Università di Bologna e University of Minnesota, Minneapolis ; Prof. Gabriella Zarri, Università di Firenze
PDF of thesis uploaded from the Library digitised archive of EUI PhD theses completed between 2013 and 2017
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Gavito, Cory Michael. "The alfabeto song in print, 1610-ca. 1665 : Neopolitan roots, Roman codification, and "Il gusto popolare" /." Thesis, 2006. http://www.lib.utexas.edu/etd/d/2006/gavitoc11533/gavitoc11533.pdf#page=3.
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Vanherle, Francisca Paula. "Castrati : the history of an extraordinary vocal phenomenon and a case study of Handel’s opera roles for Castrati written for the First Royal Academy of Music (1720-1728)." Thesis, 2002. http://hdl.handle.net/2152/29851.
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Castrati were without doubt, an extraordinary phenomenon in the vocal world. Four centuries of history exist from the first evidence of their presence in music, dating from the 1550s, and the death of the last castrato Allessandro Moreschi, in 1922. A tradition almost solely practiced in Italy, the castrati experienced their halcyon days in the seventeenth and eighteenth century. At first, they were recruited and castrated as young boys to sing in the soprano sections of the church choirs. They enjoyed an extensive training in specialized conservatorios and grew to be the most accomplished vocalists the world had known thus far. Inevitably, their art was noticed by opera composers of the time. They flourished and were celebrated in Italy and abroad. Their vocal technique and artistic skills dictated the bel canto style for nearly two hundred years. At the end of the eighteenth century, the growing awareness in moral philosophy, and a series of political shifts in Europe put an end to the overwhelming success of the eunuchs. Yet their influence on opera composition of the time and of the subsequent decades was of immense consequence. An important question should be raised when performing the opera roles written for castrati nowadays. Who will sing the castrato roles? As a logical solution, women or countertenors should adopt these roles into their repertoire. A study of opera roles written for castrati by a baroque master in the genre, Georg Friedrich Handel, sheds some light on the music for these rare birds. The castrato role-study encompasses Handel’s operas written for the First Royal Academy of Music (1720-1728). By disclosing some particular aspects in the music and the drama, it becomes clear what voice type should be singing these roles in present day Handel opera production.text
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Lehne, Eva. "Jazykový rozbor Cestopisu Bedřicha z Donína." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-297152.
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The thesis analyses selected phenomena of graphy, phonology, morfology, lexicology and words-formation of the Frederick from Donin's Czech book of travels, which was written at the turn of the 16th and 17th century. Partly, it also deals with the syntax and style of the work. Selected phenomena of individual language levels are studied using the original manuscript. The thesis intends to show in which aspects the text is close to early modern language usage, and conversely in which aspects it differs from it. The language of the manuscript is also compared with the contemporary Czech language.