Abstract
From 1582 to 1612 when the abbot of Strahov Johannes Lohel was in office, Prague had almost twenty bookbinding workshops, many of which cultivated the decorative concept in a proven traditionalist way that suited the mentality of burgher customers and the requirements of the authorities. owever, Lohel directed orders towards the two progressive and also more expensive centres of the Master with Eagle (cca 1570-1603) and the Bookbinder of the Rudolphine II Circle (cca 1587-1626), to whom at that time a rich and influential clientele from Prague and the whole of Bohemia also turned. The vast majority of Strahov acquisitions whose bindings were furnished with the provenance marks of Abbot Jan Lohel therefore do not have the collective and aesthetically uniform character that we observe as a typical feature of monastic collections during the 17th and 18th centuries.
In the contrary, the revitalized Strahov Library was formed through an artistically and financially more demanding individual connection, preferring, in addition to Lohel's provenance (initial series and private supralibros), the artistic view of post-Tridentine (plate with the bust of Christ, the Assumpta or the IHS). and MARIA emblems).