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Introduction28
0.9.3 Contemporary Scholarship: Architecture
Some other components of Strada’s huge collection of drawings have likewise
been the subject of detailed study. Principal among these are what the Ameri-
can scholar William Bell Dinsmoor in a ground breaking article in the Art Bul-
letin of 1942 termed ‘the literary remains of Sebastiano Serlio’. Speculations as
to the quantity and character of the material Strada obtained and his project to
print the as yet unpublished books of Serlio’s architectural treatise have since
been exhaustively treated. This was first done in 1966 by Marco Rosci in his
edition of the Munich manuscript of the Sesto Libro of Serlio’s architectural
treatise, then by Myra Nan Rosenfeld in her important article on Serlio’s manu-
script of the Settimo Libro in the Österreichische Nationalbibliothek in Vienna
and in her edition of the Columbia University manuscript of the Sesto Libro.
The Serlio conference at Vicenza in 1989 provided the present author with an
opportunity to present and discuss the results of a detailed examination of the
documents. Finally Francesco Paolo Fiore and Tancredi Carrunchio summed
up the state of the question in the introduction to Architettura civile, their edi-
tion of the Vienna and Munich manuscripts of the Sixth, Seventh and Eighth
Books of Serlio’s treatise of 1994.57 These new findings were also discussed in
Sebastiano Serlio: Architecture et Imprimerie, the publication edited by Sylvie
Deswarte-Rosa presenting the results of an international research project
centred around an exhibition and a conference on this theme in 1998. Sabine
Frommel’s important monograph on Serlio, concentrating on the work of the
architect itself rather than on the publishing history of his writings, refers to
Strada only when relevant and in passing.58
Of equal interest for the history of sixteenth-century architecture are the
detailed drawings of the facades and the complete decoration of the Palazzo
del Te in Mantua that Strada commissioned in 1567. These were known to have
existed from the sources, and they were already referred to in Hartig’s history
of the foundation of the Munich library survey by Duke Albrecht v, for whom
this documentation was made, and in Elizabeth Herget’s article on the influ-
ence of the Palazzo del Te on the architecture north of the Alps during the later
sixteenth century.59 The drawings themselves, which were preserved in the
Kunstmuseum in Düsseldorf with an old attribution to Santi Bartoli, were only
identified later in the 1960s by Egon Verheyen, who dedicated a long article
to them. On the basis of their obvious connection with Strada’s manuscript
57 Dinsmoor 1942; Rosci/Brizio 1966, Rosenfeld 1974; Rosenfeld 1978; Jansen 1989; Fiore/
Carrunchio 1994.
58 Sebastiano Serlio A Lyon, 2004; Frommel 1998.
59 Hartig 1917, pp. 52–53; Herget 1963, pp. 288–289.
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Jacopo Strada and Cultural Patronage at the Imperial Court
The Antique as Innovation, Volume 1
- Title
- Jacopo Strada and Cultural Patronage at the Imperial Court
- Subtitle
- The Antique as Innovation
- Volume
- 1
- Author
- Dirk Jacob Jansen
- Publisher
- Brill
- Location
- Leiden
- Date
- 2019
- Language
- English
- License
- CC BY-NC-ND 4.0
- ISBN
- 978-90-04-35949-9
- Size
- 15.8 x 24.1 cm
- Pages
- 572
- Categories
- Biographien
- Kunst und Kultur
Table of contents
- Preface XV
- Acknowledgements XVIII
- Acknowledgments of Financial Support Received XXI
- List of Abbreviations XXII
- Introduction: The Image—Or from Whom (Not?) to Buy a Second-Hand Car 1
- 0.1 The Portraits of Jacopo and Ottavio Strada 1
- 0.2 Why are These Portraits so Special? 4
- 0.3 Motions of the Mind 4
- 0.4 What is Known About Strada: Early Notices 9
- 0.5 Quellenkunde: Some Sources Published in the NineteenthCentury 15
- 0.6 Kulturgeschichte before World War II 19
- 0.7 Romance: Josef Svátek and the Rudolfine Legend 21
- 0.8 A (Very) Modest Place in the History of Classical Scholarship 24
- 0.9 Contemporary Scholarship 25
- 0.10 What Has Not Been Written on Jacopo Strada 37
- 0.11 Weaving the Strands Together: The Purpose of this Study 39
- 1 Early Years: Family Background, Education, Giulio Romano 45
- 2 Travel: Rome, Landshut, Nuremberg—Strada’s Connection withWenzel Jamnitzer 67
- 3 In Hans Jakob Fuggers’s Service 107
- 3.1 Hans Jakob Fugger 107
- 3.2 Fugger as a Patron and Collector 114
- 3.3 Fugger’s Employment of Strada 121
- 3.4 Architectural Patronage for the Fuggers: The DonauwörthStudiolo 134
- 3.5 Strada’s Trips to Lyon 137
- 3.6 Strada’s Contacts in Lyon: Sebastiano Serlio 149
- 3.7 Civis Romanus: Strada’s Sojourn in Rome 156
- 3.8 Commissions and Purchases: The Genesis of Strada’s Musaeum 174
- 3.9 Departure from Rome 183
- 4 Antiquario Della Sacra Cesarea Maesta: Strada’s Tasksat Court 188
- 4.1 Looking for Patronage: Strada’s Arrival at the ImperialCourt 188
- 4.2 The Controversy with Wolfgang Lazius 200
- 4.3 ‘Obwol Ir.Maj. den Strada selbst dier Zeit wol zu geprauchen’: Strada’s Tasks at Court 210
- 4.4 Indirect Sources Throwing Light on Strada’s Employment at Court 242
- 4.5 Conclusion 248
- 5 Jacopo Strada as an Imperial Architect: Background 251
- 5.1 Introduction: The Austrian Habsburgs as Patrons of Architecture 251
- 5.2 The Prince as Architect: Ferdinand I and Maximilian II asAmateurs and Patrons of Architecture 255
- 5.3 ‘Adeste Musae’: Maximilian’s Hunting Lodge and Garden in the Prater 290
- 5.4 The Imperial Residence: Status quo at Strada’s Arrival 307
- 5.5 The Architectural Infrastructure at the Imperial Court 319
- 5.6 Strada’s Competence as an Architect 331
- 6 Strada’s Role in Projects Initiated by Emperor Ferdinand I 339
- 7 An Object Lesson: Strada’s House in Vienna 367
- 8 The Munich Antiquarium 383
- 9 The Neugebäude 430
- 9.1 The Tomb of Ferdinand I and Anna in Prague; Licinio’s Paintings in Pressburg 431
- 9.2 Kaiserebersdorf and Katterburg 432
- 9.3 Sobriety versus Conspicuous Consumption 437
- 9.4 Hans Jakob Fugger’s Letter 438
- 9.5 Description of the Complex 441
- 9.6 The Personal Involvement of Emperor Maximilian II 455
- 9.7 Ottoman Influence? 463
- 9.8 Classical Sources: Roman Castrametatio and the Fortified Palace of Diocletian at Split 467
- 9.9 Classical Sources: Monuments of Ancient Rome 480
- 9.10 Contemporary Italian Architecture 489
- 9.11 Strada’s Contribution 500
- 9.12 Conclusion: Strada’s Role in the Design of the Neugebäude 507
- 10 Other Patrons of Architecture 514
- 10.1 The Courtyard of the Landhaus in Graz 514
- 10.2 The Residence for Archduke Ernest 517
- 10.3 Other Patrons: Vilém z Rožmberk 520
- 10.4 Jan Šembera Černohorský z Boskovic and BučoviceCastle 524
- 10.5 Christoph von Teuffenbach: The House in Vienna and the Castle at Drnholec 530
- 10.6 Reichard Strein von Schwarzenau and the Castle at Schwarzenau 534
- 10.7 Conclusion 542