Graphene with covalently grafted amino acid as a route toward eco-friendly and sustainable supercapacitors

Eco-friendly, electrochemically active electrode materials based on covalent graphene derivatives offer enormous potential for energy storage applications. However, covalent grafting of functional groups onto the graphene surface is challenging due to its low reactivity. Here, fluorographene chemistry was employed to graft an arginine moiety via its guanidine group homogeneously on both sides of graphene. By tuning the reaction conditions and adding a non-toxic pore-forming agent, an optimum degree of functionalization and hierarchical porosity was achieved in the material. This tripled the specific surface area and yielded a high capacitance value of approximately 390 F g(-1) at a current density of 0.25 A g(-1). The applicability of the electrode material was investigated under typical operating conditions by testing an assembled supercapacitor device for up to 30000 charging/discharging cycles, revealing capacitance retention of 82.3 %. This work enables the preparation of graphene derivatives with covalently grafted amino acids for technologically important applications, such as supercapacitor-based energy storage.Web of Science14183914390

Hematene: A sustainable 2D conductive platform for visible-light-driven photocatalytic ammonia decomposition

The emerging class of 2D non-van der Waals (n-vdW) materials, including 2D iron oxides, possesses unique properties and high applicability, making them attractive for various technological applications. However, the synthesis of these materials through a scalable and eco-friendly method remains a challenge, as most known chemical exfoliation processes require toxic organic solvents. In this study, we report a green synthesis of 2D hematene (α-Fe2O3) using an ultrasound-supported exfoliation method of earth-abundant iron oxide ore in a pure aqueous solution. The resulting hematene sheets, only a few nanometers thick, exhibit superior electrochemical performance in terms of charge transfer processes, making them ideal for photocatalytic applications. By doping a conductive hematene substrate with ruthenium, we demonstrate a synergistic effect for generating electrons and holes under visible light irradiation. Using this approach, we successfully decomposed ammonia into hydrogen and nitrogen, highlighting the potential of this novel class of environmentally-friendly photocatalysts for clean energy production. Overall, our water-assisted scalable synthesis of hematene offers a promising strategy for producing efficient and sustainable photocatalysts.Web of Science34art. no. 10188

Reformation als Kommunikationsprozess

Beim Hussitismus bzw. Utraquismus in Böhmen und der reformatorische Bewegung ab 1517 in Sachsen handelt es sich um zwei unterschiedliche Reformationen, jedoch mit einer Fülle von sachlichen und personalen Verbindungslinien. Diese rücken im vorliegenden Band erstmalig in einen gemeinsamen Fokus.»Wir sind alle Hussiten«, bekannte Martin Luther 1520 nach der Lektüre von Schriften des tschechischen Reformators Jan Hus, der gut einhundert Jahre zuvor als Ketzer verbrannt worden war. Die beiden Reformatoren verbinden, ebenso wie die von ihnen ausgehenden Erweckungs- und Erneuerungsbewegungen, viele Ähnlichkeiten, Übereinstimmungen und parallele Entwicklungsverläufe. Dennoch werden sie meist getrennt betrachtet. Der Sammelband analysiert Aspekte der Reformation in Böhmen und Sachsen und rückt so die beiden religiösen Brennpunkte in einen gemeinsamen Fokus. Methodisch wählen die Beiträgerinnen und Beiträger dabei einen kommunikationsgeschichtlichen Zugang

Renesanční epitaf jako médium „konfesijní identity“ v prostředí předbělohorské Chrudimi. Památník Tomáše Lvíka Domažlického (†1616) a Salomeny Francové z Liblic (†1619) jako historicko-antropologický pramen

The study deals with a unique epitaph monument of Chrudim couple of Thomas Lvík of Domažlice and his wife Salomena Francová of Liblic (after 1619). The central scene of the epitaph represents very rare iconography – Allegorical Crucifixion. We can find similar allegorical scenes especially at Silesian protestant epitaphs around 1600. The paper tries to take advantage of this painted epitaph to use it as specific historical source comparable with traditional written documents. Because we suffer from lack of personal and individual references in these traditional documents it seems to be useful to look round for other sources. We realize this deficiency especially in the context of sepulchral culture when we try to find out something about religious mentality of early modern people. The specific iconography of the Chrudim epitaph provides us very unique opportunity for observing religious ideas of Non-Catholic in case of town of Chrudim. Comparing with similar epitaph it seems relevant to consider this Lvík´s monument as reflection of typically protestant hopeful eschatological teaching. There is no problem with the fact that it was „Catholic“ etching that served as graphic pattern for this epitaph. More important is „using“ of such iconographical theme in concrete non-Catholic environment of Chrudim. The aim of the article is to demonstrate that even „image“ can serve as competent historical source, but only in case we are capable to analyze and interpret it rightly, that means to propound correct questions

Renaissance Epitaph as Medium of „Confessional Identity“ in the Context of Town Chrudim before 1620. Monument of Thomas Lvík of Domažlice (†1616) and Salomena Francová of Liblice (†1619) as historically-anthropological source

The study deals with a unique epitaph monument of Chrudim couple of Thomas Lvík of Domažlice and his wife Salomena Francová of Liblic (after 1619). The central scene of the epitaph represents very rare iconography – Allegorical Crucifixion. We can find similar allegorical scenes especially at Silesian protestant epitaphs around 1600. The paper tries to take advantage of this painted epitaph to use it as specific historical source comparable with traditional written documents. Because we suffer from lack of personal and individual references in these traditional documents it seems to be useful to look round for other sources. We realize this deficiency especially in the context of sepulchral culture when we try to find out something about religious mentality of early modern people. The specific iconography of the Chrudim epitaph provides us very unique opportunity for observing religious ideas of Non-Catholic in case of town of Chrudim. Comparing with similar epitaph it seems relevant to consider this Lvík's monument as reflection of typically protestant hopeful eschatological teaching. There is no problem with the fact that it was „Catholic“ etching that served as graphic pattern for this epitaph. More important is „using“ of such iconographical theme in concrete non-Catholic environment of Chrudim. The aim of the article is to demonstrate that even „image“ can serve as competent historical source, but only in case we are capable to analyze and interpret it rightly, that means to propound correct questions.The study deals with a unique epitaph monument of Chrudim couple of Thomas Lvík of Domažlice and his wife Salomena Francová of Liblic (after 1619). The central scene of the epitaph represents very rare iconography – Allegorical Crucifixion. We can find similar allegorical scenes especially at Silesian protestant epitaphs around 1600. The paper tries to take advantage of this painted epitaph to use it as specific historical source comparable with traditional written documents. Because we suffer from lack of personal and individual references in these traditional documents it seems to be useful to look round for other sources. We realize this deficiency especially in the context of sepulchral culture when we try to find out something about religious mentality of early modern people. The specific iconography of the Chrudim epitaph provides us very unique opportunity for observing religious ideas of Non-Catholic in case of town of Chrudim. Comparing with similar epitaph it seems relevant to consider this Lvík's monument as reflection of typically protestant hopeful eschatological teaching. There is no problem with the fact that it was „Catholic“ etching that served as graphic pattern for this epitaph. More important is „using“ of such iconographical theme in concrete non-Catholic environment of Chrudim. The aim of the article is to demonstrate that even „image“ can serve as competent historical source, but only in case we are capable to analyze and interpret it rightly, that means to propound correct questions

Renaissance Epitaph as Medium of „Confessional Identity“ in the Context of Town Chrudim before 1620. Monument of Thomas Lvík of Domažlice (†1616) and Salomena Francová of Liblice (†1619) as historically-anthropological source

The study deals with a unique epitaph monument of Chrudim couple of Thomas Lvík of Domažlice and his wife Salomena Francová of Liblic (after 1619). The central scene of the epitaph represents very rare iconography – Allegorical Crucifixion. We can find similar allegorical scenes especially at Silesian protestant epitaphs around 1600. The paper tries to take advantage of this painted epitaph to use it as specific historical source comparable with traditional written documents. Because we suffer from lack of personal and individual references in these traditional documents it seems to be useful to look round for other sources. We realize this deficiency especially in the context of sepulchral culture when we try to find out something about religious mentality of early modern people. The specific iconography of the Chrudim epitaph provides us very unique opportunity for observing religious ideas of Non-Catholic in case of town of Chrudim. Comparing with similar epitaph it seems relevant to consider this Lvík's monument as reflection of typically protestant hopeful eschatological teaching. There is no problem with the fact that it was „Catholic“ etching that served as graphic pattern for this epitaph. More important is „using“ of such iconographical theme in concrete non-Catholic environment of Chrudim. The aim of the article is to demonstrate that even „image“ can serve as competent historical source, but only in case we are capable to analyze and interpret it rightly, that means to propound correct questions.The study deals with a unique epitaph monument of Chrudim couple of Thomas Lvík of Domažlice and his wife Salomena Francová of Liblic (after 1619). The central scene of the epitaph represents very rare iconography – Allegorical Crucifixion. We can find similar allegorical scenes especially at Silesian protestant epitaphs around 1600. The paper tries to take advantage of this painted epitaph to use it as specific historical source comparable with traditional written documents. Because we suffer from lack of personal and individual references in these traditional documents it seems to be useful to look round for other sources. We realize this deficiency especially in the context of sepulchral culture when we try to find out something about religious mentality of early modern people. The specific iconography of the Chrudim epitaph provides us very unique opportunity for observing religious ideas of Non-Catholic in case of town of Chrudim. Comparing with similar epitaph it seems relevant to consider this Lvík's monument as reflection of typically protestant hopeful eschatological teaching. There is no problem with the fact that it was „Catholic“ etching that served as graphic pattern for this epitaph. More important is „using“ of such iconographical theme in concrete non-Catholic environment of Chrudim. The aim of the article is to demonstrate that even „image“ can serve as competent historical source, but only in case we are capable to analyze and interpret it rightly, that means to propound correct questions

Osobnost a dílo Matouše Radouše a tvorba renesančních epitafů v Chrudimi

The article focuses on the personality of Matouš Radouš, a painter, (†1631), of the town Chrudim, and with his outstanding and partly well preserved work – the epitaphs of prominent Chrudim burghers. Extraordinary position of Matouš Radouš lies in the fact that we only know a few painters of Czech origin in the period of Renaissance. Thanks to the sufficient archive sources, we know a lot of his life and together with his paintings, still preserved in Chrudim churches (in Church of the Assumption of the Virgin Mary and St. Michael) they were intended for, we can imagine how the local Late Renaissance workshop functioned. The research into the life and work of the “regional” Renaissance painter Matouš Radouš has several aspects. One of them is formal characteristic of the epitaphs representing a typical Central-European works of art adopting the Mannerist art influence mediated though the court of Rudolph II in Prague. We can observe how compositions of Matouš Radouš´ epitaphs reflect the figural canon and the patterns of international Mannerism, transmitted especially by graphics. Nevertheless, the character of Radouš represents a typical local “shift” from the exclusive court art and the art of a rather low formal quality. On the other hand, formal aspect of Radouš´ artistic production should not be the only one to appreciate his works of art. The unique group of Chrudim epitaphs (produced between 1580 and 1630) by Radouš and his collaborators represent a source of this kind. On the one hand, the epitaphs reflect social position of civic elite in Early Modern Chrudim and special culture of creating personal and social remembrance. On the other hand, the epitaphs witnessed the interesting confessional situation in the town. In some cases, a very original iconography of these epitaphs (e.g. the motif of Allegoric Crucifixion) proves that the commissioners of this monument were non-Catholics. The change in iconography after the White Mountain Battle, using the new Catholic motifs (esp. of the Virgin Mary) shows that the confessional situation in the town was also changed in favour of Catholicism. Last but not least, the unique epitaphs by Radouš not only represent the “works of art”, but they also stand for special records of a great historical-anthropological value

Personality and Work of Matouš Radouš and Renaissance Epitaphs in Chrudim

The article focuses on the personality of Matouš Radouš, a painter, (†1631), of the town Chrudim, and with his outstanding and partly well preserved work – the epitaphs of prominent Chrudim burghers. Extraordinary position of Matouš Radouš lies in the fact that we only know a few painters of Czech origin in the period of Renaissance. Thanks to the sufficient archive sources, we know a lot of his life and together with his paintings, still preserved in Chrudim churches (in Church of the Assumption of the Virgin Mary and St. Michael) they were intended for, we can imagine how the local Late Renaissance workshop functioned. The research into the life and work of the “regional” Renaissance painter Matouš Radouš has several aspects. One of them is formal characteristic of the epitaphs representing a typical Central-European works of art adopting the Mannerist art influence mediated though the court of Rudolph II in Prague. We can observe how compositions of Matouš Radouš's epitaphs reflect the figural canon and the patterns of international Mannerism, transmitted especially by graphics. Nevertheless, the character of Radouš represents a typical local “shift” from the exclusive court art and the art of a rather low formal quality. On the other hand, formal aspect of Radouš's artistic production should not be the only one to appreciate his works of art. The unique group of Chrudim epitaphs (produced between 1580 and 1630) by Radouš and his collaborators represent a source of this kind. On the one hand, the epitaphs reflect social position of civic elite in Early Modern Chrudim and special culture of creating personal and social remembrance. On the other hand, the epitaphs witnessed the interesting confessional situation in the town. In some cases, a very original iconography of these epitaphs (e.g. the motif of Allegoric Crucifixion) proves that the commissioners of this monument were non-Catholics. The change in iconography after the White Mountain Battle, using the new Catholic motifs (esp. of the Virgin Mary) shows that the confessional situation in the town was also changed in favour of Catholicism. Last but not least, the unique epitaphs by Radouš not only represent the “works of art”, but they also stand for special records of a great historical-anthropological value.The article focuses on the personality of Matouš Radouš, a painter, (†1631), of the town Chrudim, and with his outstanding and partly well preserved work – the epitaphs of prominent Chrudim burghers. Extraordinary position of Matouš Radouš lies in the fact that we only know a few painters of Czech origin in the period of Renaissance. Thanks to the sufficient archive sources, we know a lot of his life and together with his paintings, still preserved in Chrudim churches (in Church of the Assumption of the Virgin Mary and St. Michael) they were intended for, we can imagine how the local Late Renaissance workshop functioned. The research into the life and work of the “regional” Renaissance painter Matouš Radouš has several aspects. One of them is formal characteristic of the epitaphs representing a typical Central-European works of art adopting the Mannerist art influence mediated though the court of Rudolph II in Prague. We can observe how compositions of Matouš Radouš's epitaphs reflect the figural canon and the patterns of international Mannerism, transmitted especially by graphics. Nevertheless, the character of Radouš represents a typical local “shift” from the exclusive court art and the art of a rather low formal quality. On the other hand, formal aspect of Radouš's artistic production should not be the only one to appreciate his works of art. The unique group of Chrudim epitaphs (produced between 1580 and 1630) by Radouš and his collaborators represent a source of this kind. On the one hand, the epitaphs reflect social position of civic elite in Early Modern Chrudim and special culture of creating personal and social remembrance. On the other hand, the epitaphs witnessed the interesting confessional situation in the town. In some cases, a very original iconography of these epitaphs (e.g. the motif of Allegoric Crucifixion) proves that the commissioners of this monument were non-Catholics. The change in iconography after the White Mountain Battle, using the new Catholic motifs (esp. of the Virgin Mary) shows that the confessional situation in the town was also changed in favour of Catholicism. Last but not least, the unique epitaphs by Radouš not only represent the “works of art”, but they also stand for special records of a great historical-anthropological value

Personality and Work of Matouš Radouš and Renaissance Epitaphs in Chrudim

The article focuses on the personality of Matouš Radouš, a painter, (†1631), of the town Chrudim, and with his outstanding and partly well preserved work – the epitaphs of prominent Chrudim burghers. Extraordinary position of Matouš Radouš lies in the fact that we only know a few painters of Czech origin in the period of Renaissance. Thanks to the sufficient archive sources, we know a lot of his life and together with his paintings, still preserved in Chrudim churches (in Church of the Assumption of the Virgin Mary and St. Michael) they were intended for, we can imagine how the local Late Renaissance workshop functioned. The research into the life and work of the “regional” Renaissance painter Matouš Radouš has several aspects. One of them is formal characteristic of the epitaphs representing a typical Central-European works of art adopting the Mannerist art influence mediated though the court of Rudolph II in Prague. We can observe how compositions of Matouš Radouš's epitaphs reflect the figural canon and the patterns of international Mannerism, transmitted especially by graphics. Nevertheless, the character of Radouš represents a typical local “shift” from the exclusive court art and the art of a rather low formal quality. On the other hand, formal aspect of Radouš's artistic production should not be the only one to appreciate his works of art. The unique group of Chrudim epitaphs (produced between 1580 and 1630) by Radouš and his collaborators represent a source of this kind. On the one hand, the epitaphs reflect social position of civic elite in Early Modern Chrudim and special culture of creating personal and social remembrance. On the other hand, the epitaphs witnessed the interesting confessional situation in the town. In some cases, a very original iconography of these epitaphs (e.g. the motif of Allegoric Crucifixion) proves that the commissioners of this monument were non-Catholics. The change in iconography after the White Mountain Battle, using the new Catholic motifs (esp. of the Virgin Mary) shows that the confessional situation in the town was also changed in favour of Catholicism. Last but not least, the unique epitaphs by Radouš not only represent the “works of art”, but they also stand for special records of a great historical-anthropological value.The article focuses on the personality of Matouš Radouš, a painter, (†1631), of the town Chrudim, and with his outstanding and partly well preserved work – the epitaphs of prominent Chrudim burghers. Extraordinary position of Matouš Radouš lies in the fact that we only know a few painters of Czech origin in the period of Renaissance. Thanks to the sufficient archive sources, we know a lot of his life and together with his paintings, still preserved in Chrudim churches (in Church of the Assumption of the Virgin Mary and St. Michael) they were intended for, we can imagine how the local Late Renaissance workshop functioned. The research into the life and work of the “regional” Renaissance painter Matouš Radouš has several aspects. One of them is formal characteristic of the epitaphs representing a typical Central-European works of art adopting the Mannerist art influence mediated though the court of Rudolph II in Prague. We can observe how compositions of Matouš Radouš's epitaphs reflect the figural canon and the patterns of international Mannerism, transmitted especially by graphics. Nevertheless, the character of Radouš represents a typical local “shift” from the exclusive court art and the art of a rather low formal quality. On the other hand, formal aspect of Radouš's artistic production should not be the only one to appreciate his works of art. The unique group of Chrudim epitaphs (produced between 1580 and 1630) by Radouš and his collaborators represent a source of this kind. On the one hand, the epitaphs reflect social position of civic elite in Early Modern Chrudim and special culture of creating personal and social remembrance. On the other hand, the epitaphs witnessed the interesting confessional situation in the town. In some cases, a very original iconography of these epitaphs (e.g. the motif of Allegoric Crucifixion) proves that the commissioners of this monument were non-Catholics. The change in iconography after the White Mountain Battle, using the new Catholic motifs (esp. of the Virgin Mary) shows that the confessional situation in the town was also changed in favour of Catholicism. Last but not least, the unique epitaphs by Radouš not only represent the “works of art”, but they also stand for special records of a great historical-anthropological value