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Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Volume 1
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119In Hans Jakob Fugger’s Service books with sturdy and well-designed bindings, he was chiefly interested in the texts themselves, in the information his books contained, rather than in their rarity or splendour: this explains why he was often satisfied with good modern transcripts, provided that they were written in a good hand and by a learned scribe, and why he acquired a proportionately large number of Greek manu- scripts: so many Latin texts were, after all, already available in good printed versions. Though the collection of classical and biblical texts in the three ancient lan- guages must be considered as the backbone of Fugger’s library, and he himself was particularly interested in classical and modern historiography and its aux- iliary sciences (such as numismatics and epigraphy), Fugger’s conscious aim was to build up an extensive but balanced body of documentation covering all branches of science and the humanities. Such encyclopaedic passion clearly reflects the spirit of the age, a spirit which is evident in the proliferation of dictionaries—or ‘Theatres’, ‘Promptuaria’ etc.—that attempted to codify hu- man knowledge, such as the Pandectarum sive partitionum universalium, pub- lished in 1548 by Fugger’s protégé Conrad Gesner [Fig. 3.10]. This bulky volume, containing no less than thirty thousand subject entries, cross-references, and bibliographical data, was itself merely the companion volume of Gesner’s Bib- liotheca Universalis, a four-volume bibliography of all books in Latin, Greek and Hebrew ever printed. Its first edition was published in 1545 [Fig. 3.11], soon followed by a supplement volume, as well as by some cheaper, abridged edi- tions.19 It is clear that the Biblioteca Universalis strongly stimulated Fugger’s ideas: in the very year that it came out he unsuccessfully invited Gesner to be- come his first librarian. Gesner’s work probably first made Fugger think of his library as an independent instrument of research, as an institution rather than as a private library: the Bibliotheca Universalis became the ideal model for his library, rather than just a convenient guide for future acquisitions.20 Fugger’s thirst for universal knowledge and his interest in a systematical- ly accessible arrangement of such knowledge are confirmed by his connec- tions with the Antwerp doctor Samuel Quiccheberg, whom he appointed as his librarian in about 1559, and who appears also to have been charged with 19 Gesner 1545 and 1555 (and facsimile reprint with introduction: Gesner/Widmann 1966); Gesner 1548; on Gesner as a bibliographer, see Hartig 1917, passim; Besterman 1936, pp. 33–41; Fischer 1966; Eisenstein 1979, pp. 97–100; Braun 1990. 20 Gesner proposed that the systematic part of his catalogue could be used as the catalogue of any library, if one marked in it the books owned; and the margins offered some space for adding new publications. A copy belonging to Hans Jakob’s nephew, Philip Eduard Fugger, demonstrates that this was in fact occasionally done (see Gesner/ Widmann 1966).
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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