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69Travel—Wenzel
Jamnitzer
rest of Southern Italy and Sicily, but since he appears to have been an indefati-
gable traveller even when he was quite old and plagued by the gout, this is not
impossible. Doubtless he carefully studied what ancient remains he could find
in the towns he visited.5 Thus, he claims to have executed a series of measured
drawings of the remains of principal classical monuments of the Urbs; if so,
this activity should probably be assigned to his earlier visit rather than to his
shorter, very busy sojourn of 1554–1556.6 Judging from his later interests, how-
ever, we can rest assured that he paid at least equal attention to the artistic
achievements of his contemporaries.
2.2 Residence in Germany
Strada’s subsequent trips in foreign countries—that is, in Germany and in
France—appear to have been characterized by a comparable attitude of en-
lightened and informed tourism, judging from the preface to his Epitome the-
sauri antiquitatum quoted earlier. Here Strada claimed that he had undertaken
his travels partly for the sake of collecting numismatic material for his book,
and partly ‘to know the manners of the foreigners, and the beauty of the land-
scape of their country’. Yet it is rather likely that he had some more pressing
and specific reasons to choose Germany, rather than to follow in the footsteps
of Primaticcio, towards that haven of emigrant Italian artists, Fontainebleau.7
5 Melissus’ poem praises Strada’s knowledge of antiquities from Asia Minor and Northern Af-
rica; whether this implied travel (for instance to Constantinople, and /or participation in
Charles v’s expedition to Tunis in 1535) must remain open to question: Strada was compe-
tent in using his network of friends and acquaintances to collect his materials. It should be
noted that at this time Strada’s study of ancient coins had not yet assumed the systematic
form which it would acquire during his first years in Germany, under the guidance of Hans
Jakob Fugger: in his numismatic mss. Strada describes coins from collections he saw during
his later visits to Rome and Venice (in the 1550s), while he does not mention any Neapolitan
collection.
6 cf. Appendix ii, Index sive catalogus, nr. 34. On Strada’s later visit to Rome, partly on behalf of
his patron Hans Jakob Fugger, see below, Ch. 3.6–7.
7 Strada 1553(b), p. aa 4 v: ‘pour congnoitre les moeurs des estrangers, et la beauté de l’assiette
de leur région’. Strada may in fact have visited France even in the thirties, if one can believe
a reference in a letter of his son Ottavio to Belisario Vinta, secretary of Grandduke Francesco
i of Tuscany, dated Prague 6 December 1588, in which he offers to sell ‘donzine de belis-
simi medaglioni <…> che mio padre bona memoria, già avanti 50 anni comprò in Franza
<…>’ [asf, Medici del Principato 810, fol. 129]. It seems unlikely that Ottavio, who must have
known, would have confused a visit in the late 1530s with his father’s certain visits to Lyon in
the 1550s, i.e. during Ottavio’s childhood. The style of Strada’s few certain designs are in fact
quite close to that of Primaticcio’s and his contemporaries in France.
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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