Ke grafickým předlohám sochařské výzdoby kroměřížského Libosadu

The sculptural decorations of the Colonnade of the Kroměříž/Kremsier Flower Garden comprise a unique collection of several dozen sculptures and busts that were created in the first half of the 1670s, most of which were modelled on print images of existing antique works of sculpture, statues, and reliefs. Research to date has identified two collections of prints (Villa Pamphilia eiusque palatium, cum suis prospectibus, statuae, fontes, vivaria [...], by Dominique Barrière and Giovanni Battista Falda, and Segmenta nobilium signorum et statuarum [...], by François Perrier) that served as the sources or templates on which the majority of the sculptures in the niches and almost one-half of all the busts were based. This article revises past opinion on which prints served as the models for the other seven niche sculptures and from a comparative analysis of details in the execution of the relevant prints it identifies as a third source used in Kroměříž the first, undated edition of the album Admiranda Romanarum Antiquitatum by Pietro Santi Bartoli and Giovanni Pietro Bellori. The article sets the topic of the spread of antique formal motifs through early-modern prints in the wider context of the reception of antiquity in early-modern culture.