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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
- 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