Prague National Museum

Prague, Czech Republic

The National museum was founded 1818 in Prague by Kašpar Maria Šternberg. At present the National Museum houses almost 14 million items from the area of natural history, history, arts, music and librarianship, located in dozens of buildings. Due to major renovations the museum will be closed until 2017.

The main museum building is located on the upper end of Wenceslas Square and was built by prominent Czech neo-renaissance architect Josef Schulz from 1885 - 1891;before this the museum had been temporarily based at several noblemen’s palaces. With the construction of a permanent building for the museum, a great deal of work which had previously been devoted to ensuring that the collections would remain intact was now put toward collecting new materials.

During the 1968 Warsaw Pact intervention the main facade was severely damaged by strong Soviet machine-gun and automatic submachine-gun fire. The shots made numerous holes in sandstone pillars and plaster, destroyed stone statues and reliefs and also caused damage in some of the depositaries. Despite the general facade repair made between 1970 - 1972 the damage still can be seen because the builders used lighter sandstone to repair the bullet holes.

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Details

Founded: 1818
Category: Museums in Czech Republic

More Information

www.nm.cz
en.wikipedia.org

Rating

4.3/5 (based on Google user reviews)

User Reviews

Justine (4 months ago)
Beautiful historical building - worth to see the interiors. Construction keeps going, even if it should end in 2019/2020. Only some random exhibitions available. All the interesting exhibits still can't be seen.
Neo “Nexuz” Sieber (5 months ago)
The prices are fair. You'll get a ticket for 9 Prague museum's and for a decent price. You can get a discount for students with valid Student ID. The old building of the museum is amazing. The view on top and Inside is really something. Now to the con's. The new building is closed completely except one room and the collection is very mixed and has no red line. In the old building there was also a lot closed. I am not quite sure if it has something to do with COVID, because the museum wasn't stuffed or anything. All in all I can't recommend it at this time cause the exhibition is way to small for a giant building like that. If you decide to go nonetheless try out the underground connection via tunnel. They play some nice movies down there. The whole museum still really reminds of the history of Praha, Bad and good Times. Thank you and have a good time.
Shivesh Karan (5 months ago)
Museum located in the heart of Prague with a lot of information and exhibitions on velvet revolution, ancient coins, minerals. Definitely worth the price. The building is also extremely beautiful.
Mariano De los Rios (5 months ago)
A bit expensive entrance ticket, the inside is super nice even though I feel that explanations are not the best, but their frames and roofs are amazing. I feel like guides or more information in different languages could be helpful for non Czech speakers. Besides that it was a nice experience being there.
The Filip (6 months ago)
Awesome place. Easy to get to. Near the Václav square. When I've been there there were really interesting exhibitions in addition to everything that's there usually. One about ancient Egypt pharaohs and the second one about Czechoslovakian pilots in WWII.
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Featured Historic Landmarks, Sites & Buildings

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Quimper Cathedral

From 1239, Raynaud, the Bishop of Quimper, decided on the building of a new chancel destined to replace that of the Romanesque era. He therefore started, in the far west, the construction of a great Gothic cathedral which would inspire cathedral reconstructions in the Ile de France and would in turn become a place of experimentation from where would later appear ideas adopted by the whole of lower Brittany. The date of 1239 marks the Bishop’s decision and does not imply an immediate start to construction. Observation of the pillar profiles, their bases, the canopies, the fitting of the ribbed vaults of the ambulatory or the alignment of the bays leads us to believe, however, that the construction was spread out over time.

The four circular pillars mark the start of the building site, but the four following adopt a lozenge-shaped layout which could indicate a change of project manager. The clumsiness of the vaulted archways of the north ambulatory, the start of the ribbed vaults at the height of the south ambulatory or the choice of the vaults descending in spoke-form from the semi-circle which allows the connection of the axis chapel to the choir – despite the manifest problems of alignment – conveys the hesitancy and diverse influences in the first phase of works which spread out until the start of the 14th century.

At the same time as this facade was built (to which were added the north and south gates) the building of the nave started in the east and would finish by 1460. The nave is made up of six bays with one at the level of the facade towers and flanked by double aisles – one wide and one narrow (split into side chapels) – in an extension of the choir arrangements.

The choir presents four right-hand bays with ambulatory and side chapels. It is extended towards the east of 3-sided chevet which opens onto a semi-circle composed of five chapels and an apsidal chapel of two bays and a flat chevet consecrated to Our Lady.

The three-level elevation with arches, triforium and galleries seems more uniform and expresses anglo-Norman influence in the thickness of the walls (Norman passageway at the gallery level) or the decorative style (heavy mouldings, decorative frieze under the triforium). This building site would have to have been overseen in one shot. Undoubtedly interrupted by the war of Succession (1341-1364) it draws to a close with the building of the lierne vaults (1410) and the fitting of stained-glass windows. Bishop Bertrand de Rosmadec and Duke Jean V, whose coat of arms would decorate these vaults, finished the chancel before starting on the building of the facade and the nave.

Isolated from its environment in the 19th century, the cathedral was – on the contrary – originally very linked to its surroundings. Its site and the orientation of the facade determined traffic flow in the town. Its positioning close to the south walls resulted in particuliarities such as the transfer of the side gates on to the north and south facades of the towers: the southern portal of Saint Catherine served the bishop’s gate and the hospital located on the left bank (the current Préfecture) and the north gate was the baptismal porch – a true parish porch with its benches and alcoves for the Apostles’ statues turned towards the town, completed by an ossuary (1514).

The west porch finds its natural place between the two towers. The entire aesthetic of these three gates springs from the Flamboyant era: trefoil, curly kale, finials, large gables which cut into the mouldings and balustrades. Pinnacles and recesses embellish the buttresses whilst an entire bestiary appears: monsters, dogs, mysterious figures, gargoyles, and with them a whole imaginary world promoting a religious and political programme. Even though most of the saints statues have disappeared an armorial survives which makes the doors of the cathedral one of the most beautiful heraldic pages imaginable: ducal ermine, the Montfort lion, Duchess Jeanne of France’s coat of arms side by side with the arms of the Cornouaille barons with their helmets and crests. One can imagine the impact of this sculpted decor with the colour and gilding which originally completed it.

At the start of the 16th century the construction of the spires was being prepared when building was interrupted, undoubtedly for financial reasons. Small conical roofs were therefore placed on top of the towers. The following centuries were essentially devoted to putting furnishings in place (funeral monuments, altars, statues, organs, pulpit). Note the fire which destroyed the spire of the transept cross in 1620 as well as the ransacking of the cathedral in 1793 when nearly all the furnishings disappeared in a « bonfire of the saints ».

The 19th century would therefore inherit an almost finished but mutilated building and would devote itself to its renovation according to the tastes and theories of the day.