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Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Volume 1
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71Travel—Wenzel Jamnitzer contradicted by the fact that Strada—though he did receive a stipend or some other form of monetary recompense—did not settle in Augsburg, as a Fug- ger creature or familiarius, but maintained an independent establishment in Nuremberg.9 2.3 The Landshut Hypothesis Lack of precise information prevents us from deciding which of these hy- potheses is the right one, and to some extent they all may have contributed to Strada’s decision. In addition to these, it is possible to suggest a more concrete occasion that may have furnished the immediate cause for Strada’s transfer across the Alps. Though it must likewise remain hypothetical, I think this sup- position sufficiently probable and important to discuss it in detail. This oc- casion is the construction and decoration of the so-called ‘Italienische Bau’ of the ‘Stadtresidenz’ in Landshut, one of the principal seats of the Dukes of Bavaria.10 The direct stimulus for the construction of this purely Renaissance dwell- ing, which had no precedent in Germany, had been the trip to Italy made by Duke Ludwig x of Bavaria-Landshut in the spring of 1536. Shortly before his trip, the Duke had decided to have a new residence built in the centre of the little market town on the banks of the Isar: construction of its entrance wing, later known as the ‘Deutsche Bau’, had already begun, under the supervision of the local architects Niclas Überreiter and Bernhard Zwitzel or Zwietzel. During his trip, Duke Ludwig first visited Trent, where he was received in the Mag- no Palazzo, the residence that had been recently refurbished by the Prince- Bishop, Bernhard Cles.11 By the middle of April Ludwig had arrived in Mantua, and if the advanced taste of Cles’ apartments had already impressed this very cultured and erudite Prince, he was virtually blown over by the splendour of Federico Gonzaga’s plaything, the Palazzo del Te. This is borne out by the en- thusiastic letters he wrote to his brother, Duke Wilhelm iv of Bavaria: 9 On Hans Jakob Fugger and Strada’s relationship with him, see below, Ch. 3. 10 On the Landshut Stadtresidenz, see now Lauterbach/ Endemann / Frommel 1998, and Langer / Heinemann 2009; earlier literature used here: Mitterwieser 1922; Wischermann 1979; Thoma/ Brunner/ Herzog 1980; Hitchcock 1981, pp. 94–99; rasp 1984; Sarzi 1988; For- ster 1989; on its decoration Verheyen 1966(b); Bulst 1975; Dacos 1985; Kronthaler 1987. 11 Cles (or Clesio) was in Rome at the time of Ludwig’s visit. On Cles and the decoration of his apartments in the Castello di Buonconsiglio, see a.o. Bernardo Cles 1985; Frangenberg 1993, and below, Ch. 5.2.1.
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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

  1. Preface XV
  2. Acknowledgements XVIII
  3. Acknowledgments of Financial Support Received XXI
  4. List of Abbreviations XXII
  5. Introduction: The Image—Or from Whom (Not?) to Buy a Second-Hand Car 1
    1. 0.1 The Portraits of Jacopo and Ottavio Strada 1
    2. 0.2 Why are These Portraits so Special? 4
    3. 0.3 Motions of the Mind 4
    4. 0.4 What is Known About Strada: Early Notices 9
    5. 0.5 Quellenkunde: Some Sources Published in the NineteenthCentury 15
    6. 0.6 Kulturgeschichte before World War II 19
    7. 0.7 Romance: Josef Svátek and the Rudolfine Legend 21
    8. 0.8 A (Very) Modest Place in the History of Classical Scholarship 24
    9. 0.9 Contemporary Scholarship 25
    10. 0.10 What Has Not Been Written on Jacopo Strada 37
    11. 0.11 Weaving the Strands Together: The Purpose of this Study 39
  6. 1 Early Years: Family Background, Education, Giulio Romano 45
    1. 1.1 Family Background 45
    2. 1.2 Mantua and the Gonzaga 50
    3. 1.3 Formal Education 54
    4. 1.4 Artistic Training 57
    5. 1.5 Giulio’s Collections 60
    6. 1.6 Early Training as a Goldsmith? 63
    7. 1.7 Significance of his Mantuan Background for Strada’sDevelopment 65
  7. 2 Travel: Rome, Landshut, Nuremberg—Strada’s Connection withWenzel Jamnitzer 67
    1. 2.1 Early Travels 67
    2. 2.2 Residence in Germany 69
    3. 2.3 The Landshut Hypothesis 71
    4. 2.4 Romance in Franconia: Strada’s Marriage and his Settling in Nuremberg 79
    5. 2.5 Strada and Wenzel Jamnitzer 83
  8. 3 In Hans Jakob Fuggers’s Service 107
    1. 3.1 Hans Jakob Fugger 107
    2. 3.2 Fugger as a Patron and Collector 114
    3. 3.3 Fugger’s Employment of Strada 121
    4. 3.4 Architectural Patronage for the Fuggers: The DonauwörthStudiolo 134
    5. 3.5 Strada’s Trips to Lyon 137
    6. 3.6 Strada’s Contacts in Lyon: Sebastiano Serlio 149
    7. 3.7 Civis Romanus: Strada’s Sojourn in Rome 156
    8. 3.8 Commissions and Purchases: The Genesis of Strada’s Musaeum 174
    9. 3.9 Departure from Rome 183
  9. 4 Antiquario Della Sacra Cesarea Maesta: Strada’s Tasksat Court 188
    1. 4.1 Looking for Patronage: Strada’s Arrival at the ImperialCourt 188
    2. 4.2 The Controversy with Wolfgang Lazius 200
    3. 4.3 ‘Obwol Ir.Maj. den Strada selbst dier Zeit wol zu geprauchen’: Strada’s Tasks at Court 210
    4. 4.4 Indirect Sources Throwing Light on Strada’s Employment at Court 242
    5. 4.5 Conclusion 248
    6. 5 Jacopo Strada as an Imperial Architect: Background 251
    7. 5.1 Introduction: The Austrian Habsburgs as Patrons of Architecture 251
    8. 5.2 The Prince as Architect: Ferdinand I and Maximilian II asAmateurs and Patrons of Architecture 255
    9. 5.3 ‘Adeste Musae’: Maximilian’s Hunting Lodge and Garden in the Prater 290
    10. 5.4 The Imperial Residence: Status quo at Strada’s Arrival 307
    11. 5.5 The Architectural Infrastructure at the Imperial Court 319
    12. 5.6 Strada’s Competence as an Architect 331
  10. 6 Strada’s Role in Projects Initiated by Emperor Ferdinand I 339
    1. 6.1 The Hofspital 340
    2. 6.2 The Tomb of Maximilian I in Innsbruck 343
    3. 6.3 Interior Decoration 350
    4. 6.4 The Tanzhaus 352
    5. 6.5 The Stallburg 355
  11. 7 An Object Lesson: Strada’s House in Vienna 367
  12. 8 The Munich Antiquarium 383
    1. 8.1 The Commission 383
    2. 8.2 The Design of 1568 391
    3. 8.3 The Concept 393
    4. 8.4 Strada’s Project: The Drawings 398
    5. 8.5 Strada’s Project: The Building 401
    6. 8.6 The Interior Elevation 407
    7. 8.7 The Exterior Elevation and its Models 411
    8. 8.8 Conclusion: Strada’s Role in the Creation of the Antiquarium 421
  13. 9 The Neugebäude 430
    1. 9.1 The Tomb of Ferdinand I and Anna in Prague; Licinio’s Paintings in Pressburg 431
    2. 9.2 Kaiserebersdorf and Katterburg 432
    3. 9.3 Sobriety versus Conspicuous Consumption 437
    4. 9.4 Hans Jakob Fugger’s Letter 438
    5. 9.5 Description of the Complex 441
    6. 9.6 The Personal Involvement of Emperor Maximilian II 455
    7. 9.7 Ottoman Influence? 463
    8. 9.8 Classical Sources: Roman Castrametatio and the Fortified Palace of Diocletian at Split 467
    9. 9.9 Classical Sources: Monuments of Ancient Rome 480
    10. 9.10 Contemporary Italian Architecture 489
    11. 9.11 Strada’s Contribution 500
    12. 9.12 Conclusion: Strada’s Role in the Design of the Neugebäude 507
  14. 10 Other Patrons of Architecture 514
    1. 10.1 The Courtyard of the Landhaus in Graz 514
    2. 10.2 The Residence for Archduke Ernest 517
    3. 10.3 Other Patrons: Vilém z Rožmberk 520
    4. 10.4 Jan Šembera Černohorský z Boskovic and BučoviceCastle 524
    5. 10.5 Christoph von Teuffenbach: The House in Vienna and the Castle at Drnholec 530
    6. 10.6 Reichard Strein von Schwarzenau and the Castle at Schwarzenau 534
    7. 10.7 Conclusion 542
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Jacopo Strada and Cultural Patronage at the Imperial Court