STÁTNÍ TAJEMNÍK U ŘÍŠSKÉHO PROTEKTORA V ČECHÁCH A NA MORAVĚ, PRAHA, inv. 1982, sig. 109-6/74 Page 44 · 44 of 54
STATE SECRETARY FOR THE RUSSIAN PROTECTOR IN THINGS AND IN MORAVA, PRAGUE, inv. 1982, sig. 109-6/74
English Translation
36a seem quite questionable to their actual purpose of admitting to the cultic use. After this, the return of the plates to the monastery museum should be considered: since it has now been established that the storage of the pictures has not been in any way beneficial, but that considerable moisture damage has occurred, it is absolutely necessary to provide for a sufficiently dry accommodation in the future, as far as this is possible in the rather humid forest climate of Hohenfurt; this also applies, by the way, in the event that the pictures are nevertheless returned to the church itself. On the Prague: "Hohenfurt or Prague" can still be said: the inner connection between the 9 pictures and the place of Hohenfurt, which can only be proved for about a century, but which has been strengthened by tradition and has become an emotionally important band, must not and should not be torn lightly by géwiss. The Hohenfurt Tables also form a well-known part of the rich and versatile South Bohemian cultural landscape and its griwiaiyhiy German character. Finally, today, with the hyrg in previous decades, it has rightly broken a widespread tendency to collect as many works of art as possible in the large central museums of the main cities - mostly without feeling for the considerable values contained in the centuries-long bonding of an artwork to the native soil, to the space and to the people for whom it was created at that time. On the other hand, in the present case, which - which must be emphasised explicitly - is not to be generalised, 5397 for the future storage of the pictures in the "National Gallery" in Prague, the following: It is only a matter of time that the management and administration of this collection will be subject to sufficient German influence. The National Gallery continues to be the only museum to be able to show the culturally important section of the development of early German painting in Bohemia in the age of Charles IV. In this series of developments, the Hohenfurter and the panels of the master of Wittingau, which are also in the Prague gallery, are by far the most important members.