The author of this impressive monograph of 501 pages states in his Preface that his work is the ‘first attempt of its kind to follow the often complicated artistic and historical relations involved in the contributions of Byzantine art and its impact on the art of the Czech lands’ (p. ix). It has to be emphasised that it is indeed a first attempt of its kind and an excellent one. Crucial to an undersanding of the author’s starting point is his introduction (pp. 1–11). There the author highlights that he aims to look at objects of cultural heritage not from the perspective of Bohemian, Moravian or Slovak art, but rather through the lens of the art of Byzantium. Logically, he covers the period between 324/330 and 1453 and points out that direct Byzantine influence was slowly waning after 1453. The space (the ‘Czech lands’), on which he has conducted research, comprises today’s Czech Republic and a part of the Slovak Republic, which was culturally related to Great Moravia. The author continues to discuss the term ‘Byzantine style’ in this context (p. 6) and explains how he has approached the topic of study: firstly by providing a short historical introduction, then by presenting the object itself and finally by attempting to give an iconographical and stylistic interpretation against the background of a broader historical context (p. 7). In order to complete his introduction, he presents a succinct overview of Byzantine Studies in the Czech Lands from the ‘Velehrad Circle’ to the ‘Scholarly Circle’, to the Russian Emigrés and finally to Byzantine Studies in Czechoslovakia after the Second World War (pp. 11–25). The role of the scholarly journal Byzantinoslavica, which is still one of the most important journals in Byzantine Studies, is rightly emphasised.

Following the introduction, the monograph’s main body is divided into two parts: ‘From 324 AD up to the Eleventh Century’ (pp. 37–228), and ‘Second Half of the 11th Century up to the 16th Century’ (pp. 231–422). Both parts are then subdivided into six and five chapters respectively. The author’s periodisation is well-founded, and he stays admirably true to his described approach. In each of the chapters we witness an outstanding interplay between the historical background and the artefacts themselves. In the first part he analyses and contextualises a huge variety of artefacts for everyday use as well as luxury items like terracotta lamps, rings, helmets, gilded silver objects, glass and stone pearls, pyxides, chalices, silver bracelets, dishes, ampullae, cast bronze straps, cast bronze belt buckles, cast bronze encolpia, silver encolpia, lead pectoral crosses, gilded bronze plates, bronze fittings, pectoral reliquary crosses, silver earrings, silk fragments, illustrations, coins and silver phalera. In the second part we witness the introduction of additional artefacts like combs, sculptures, marble crosses, silver diadems, frescoes, tympana, mosaic icons, ivory plates, epitrachelia, oliphants, icons, gems and mosaics.

The impressive richness of the artefacts discussed witnesses to the author’s remarkable expertise, which is based on many years of study and detailed research. He concludes that the Byzantine presence in the art of the Czech lands is clear and discernible. It can be found in certain periods of time and is determined by local conditions, historical events and the spiritual environment. The author refrains from overarching conclusions about the degree of Byzantine influence and emphasises the importance of short analyses of objects related to Byzantium. He discerns the role of Eastern Christian cults as bearers of Byzantine influence, mirrored, for example, in the finding of small pendant crosses. The author also casts new light on the survival of the Old Slavonic in Eastern Christian ecclesiastical tradition in the period from the 10th to the 12th centuries. He emphasises the diffusion and acculturation of objects found in the Czech lands and at the same time hints to future, still unanswered research questions, namely the role played by the Church in Hungary in the diffusion of Byzantine culture, and also the relations between the Czech lands and Kievan Rus. Moreover, the author traces luxury goods like silk, which did not only come from Sicily and the German countries, but also from Byzantium.

What seem to be bits and pieces contribute in fact to a larger picture of cultural exchange largely overlooked in scholarship or not systematically assembled and analysed so far. After the Crusades the Czech lands experienced new forms of Byzantine influence, mirrored especially in luxury items. In addition, following the Lateran Council of 1215, the iconography was also enriched via the Mediterranean and Hungary. The author also emphasises the role of religious orders like the Franciscans and the influence coming from Italy. All these influences were upheld during the reign of Emperor Charles iv of Luxembourg (1355–78), because conservative art was in fashion at that time.

The present monograph offers a holistic view of a very complex field of study. It emphasises perception of objects of art in the context of their own contemporary sociological, artistic and ecclesiastical setting. The author comes to the conclusion that the greatest Byzantine influence in the Czech lands is to be dated to the fourteenth century, because local art in the Czech lands did not only receive cultural influences from Byzantium at that time, but actively transformed them. This ability to transform depended on the degree of development of Bohemian culture as compared to the high culture of Constantinople, and on their common values, which means that the greatest reception of Byzantine art in the Czech lands occurred when both societies had reached similar artistic and cultural levels.

Without doubt Petr Balcárek’s monograph is outstanding and an example of ‘best practice’ in this field of research. It would be worthwhile indeed to conduct similar research on Byzantium and Austria/Germany, Byzantium and France etc. in order to be able to compare the various ways in which Byzantine art manifested itself in Europe through time and space.