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his son, Don Clemente, this was very probably the larger part, and apart from
Simone’s financial assets may well have included a further house, probably
his chief residence, in Mantua. The burial in the church or cemetery of Santa
Maria delle Grazie that Simone ordained in his will—‘honourably, according
to his condition and means, with eight priests’—certainly was not that of a
pauper or a modest contadino.16 All this property would in the end come to
Rinaldo Strada, who apart from what he may have inherited from his own fa-
ther, will have considerably added to his fortune: after all, of all possible offices,
his function as collector of the revenue for the Gonzaga was most likely to add
considerably to its incumbent’s prosperity. In 1564 his widow did not live in the
house in the Contrada della Bue, but in another house in the Contrada della
Serpa, which may well have been the family’s principal residence, inhabited by
Don Clemente until his death. Altogether it is likely that Jacopo’s parents, if not
wealthy, were at least quite well to do, and this assumption is corroborated by
the fact that Jacopo, who had to share his inheritance with two brothers and
two sisters, very shortly after his father’s death began constructing his impos-
ing mansion in Vienna.17
1.2 Mantua and the Gonzaga
It is very unfortunate that almost nothing is known of Strada’s youth and his
education: the earliest direct reference to his existence we have dates only from
1546, when he had already been settled in Southern Germany for some years,
and of course had had ample time both to finish any formal education he may
have received, to complete his training as an artist and possibly to absolve
an apprenticeship as a goldsmith. The following sketch of Strada’s formative
years is therefore largely hypothetical: it is based in part on data culled from
sources dating from later years—in particular Strada’s own correspondence
and writings—and in part on the indications provided by the facts of his later
career. In attempting to fill in the blank spots I will propose some explanations
that appear the most probable in view of the few data available, and of custom
and practice of Strada’s milieu and epoch.
16 ‘Egregius vir ser Simon de la Strata <…> devote recommendavit corpus vero suum cum ab
eo anima separata fuerit seppelire voluit in ecclesia sive cimeterio Domine Sancte Mariae
Gratiarum extra Curtatonam honorefice secundum eius conditionem et facultatum cum
octo presbiteros’ [will as cited above, note 7].
17 Strada’s house in Vienna is discussed in detail below, Chapter 7. Strada’ early prosperity
may in in part have been due to what he inherited from his mother.
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book Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Volume 1"
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