the room where the official proceedings and law trials were taken to solvethe problemsof the vassal's
state administration and political system itself.The Hall was decoratedin the summer of 1759.
F. A. Maulbertsch, the most popular and much asked-for painter of those days in Vienna, received from
the bishop L. B. Ekgh an overwhelming honorarium of 2300 ducats. As we can learn from the then contract,
Maulbertsch was put into charge to elaboratethe sketches basedon the concepts as been supplied, and
proceedon to the painting subjected to the prior approval, all by 1759. The Bishop obliged himself to
providethe painterwith the accommodation, and appropriate material and human resources. One of the
sketches is kept in the castle galleryin Slavkov. The embulient picture of a relaxedand casual style
shines with stains made from colourful paste-like substance, and attractsits spectators with internal
absorption and virtuosity. Besides the key motif, where Ekgh the Bishopis depictedin the apotheosis
sideby side with old-antique divinity of Hercules, Hermes, Minerva, Saturnus, and other allegoric
figures, such as the Justiceand Cornucopia, the picture narratesof the very concrete historical events.
These are taken fromthe life of Episcopal vassal's system. At first,its foundation by bishop Bruno of
Schaumburk during the reign of Přemysl Otakar II. The second scenery shows the confirmationof Stanislav
Pavlovskýin the office of bishopby Rudolph II. the Emperor. The third scenery depicts the anti-Hapsburg
uprising of the Moravian nobilityat the beginning of the Thirty Years' War, whenthe canons were being
imprisoned. The final section in turn shows the Restoration following the defeat of the noble men at
the Battleof Bílá Hora (1620),and further enlargementof the houses and lands owned by the emperor
Ferdinand II.Maulbertsch's masterpiece can be regarded as demonstration of Rococo subjectivism- with
unprecedented expressivity and irrational impression - rather thana mere late-Baroque work.
The painting was in fact made to order not onlyto match its Customer's purposes and demands but also
to be abreastof those times as well. Incommutable brush-work was at first dashed"al fresco" (into the
damp plaster) and whenthe plaster dried up it was completed "al secco" (with a dry-brush) with glaring
white pastes appliedto create the bright lights. The restoration workson this painting also encompassed
the necessary conservation and preservation of the marble wall facing, and the balustrade parapet in
front of the tribunal seat.The majolika stove were glittered (with both the gloss and dull finish)
and the tile patterns were re-polished. The head of the room has been fitted with the portrait of bishop
L. B. Egkh.