In the pictorial decoration for the foyer of the National Theatre, as has already been pointed out, it was František Ženíšek’s supple grace that, in accordance with the taste of his day, prevailed over the rugged originality of his fellow-worker. Accordingly Ženíšek arranged after his fashion, but not to the best advantage, the panels of the foyer—“Legend,” “History,” “Antique Life,” “Heroic Song”—as well as the ceiling. His most characteristic and successful achievement, however, are the fine allegorical female figures with which he adorned the ceiling of the auditorium. In point of fact, so far as isolated figures are concerned, he displays a consummate mastery of draughtsmanship. His nudes, carefully studied from life, are remarkable for their beauty and dignity of form, the masses are connected by a pure and flexible line, and the proportions, types and gestures are conceived in accordance with that ideal of human loveliness which was realised by Josef Mánes. Nevertheless, in invention and composition, Aleš remains beyond all dispute the true heir of Mánes. Ženíšek’s invention is meagre and his composition almost negligible. Some few of his works, however, are not devoid of merit even from the standpoint of composition: among these are the “Meeting of Prince Oldřich and the fair Božena,” and the unfinished canvas, “Strawberries.”
The limitations of Ženíšek’s talent, where he could not avail himself of the collaboration of an Aleš, were already evident in the curtain—so poor in composition, with its four figures—which he painted for the National Theatre, and which was burnt in the disastrous fire of 1881. It will always be remembered how profoundly moved the Czech nation was by this catastrophe, and what feverish activity it displayed in repairing the damage. The services of another set of artists were requisitioned. From Vienna, Julius Mařák came to decorate the vestibule of the official box reserved for the King of Bohemia, with pictures
