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125In
Hans Jakob Fugger’s Service
Next to this quantity of beautiful books [in his house] will not only be
seen common and badly painted portraits, as can generally be seen with
other people, but instead a huge number of old Roman portraits, all man-
ner of consuls, dictators and other leader of the Romans, as well as the
Italian and German Kings of the Romans and the [Holy Roman] Emper-
ors, in drawings, in painting, or casts.32
The emphasis on portraits in various forms corresponds to Fugger’s own his-
torical and genealogical interest as well as to Strada’s research, which may well
have been stimulated by Fugger, who in any case intended to reap some of
its fruits. Fugger employed Strada chiefly in connection with his collection of
antiquities and its appurtenances, initially particularly in the field of numis-
matics. When Strada met Fugger he had already acquired some expertise in
this field, owing to his study of Giulio’s medals and his travels in Italy. In the
preface to the French version of his 1553 Epitome thesauri antiquitatum he even
claims that he came to Germany partly ‘pour recouvrer desdites Medailles, à
l’accroissement et perfection de mon livre’.33 Hans Jakob now generously pro-
vided him with the means necessary to continue his studies, very likely in the
form of a stipend similar to those he had given other erudites:
<…> while I was in Germany, this good lord has been so good and kind
to me, as to provide me liberally and wholeheartedly all that was conve-
nient and necessary to me, so that it would be a perpetual shame and
everlasting infamy, if I would disdain to present this my labour, for as
much as it is worth, to him who is my lord and sovereign master <…>34
32 Chronica des ganszen Fuggerischen geschlechts <…>, München, bsb-hs, ms. Cgm 3188,
fol. 99v, as quoted in Von Busch 1973, p. 112: ‘Neben diesen anzaal herrlichen bücher
werden auch nicht Allein gemeine und schlechte Contrafattungen, wie die bei andern
menschen in gemein gesehen werden, sonder nach rechter kunst und Aigenschafften,
An dapfere hohe anzal altter Römischer Contrafattungen, allerley Consules, Dittatores,
und hauptleudt der Römer, Wie die Italliänischenn Unnd Teuschen Romischen könig und
Keiser gerissen gemalet und gegossen’.
33 Strada 1553<b>, Epitome du thrésor, p. aa 4 verso; the Latin edition (p. A 4 verso) reads:
‘tum ut augendo libro meo raros Numos adipiscerer’.
34 Strada 1553<b>, p. aa 4-v.: ‘<…> pendant que i’ay esté en Allemagne ce bon Seigneur m’ha
esté tant doux et benin, qu’il m’ha baillé liberalement et de bon coeur ce qui m’estoit
commode et necessaire, que ce seroit un perpetuel reproche, et infamie pour iamais, si ie
desdaignois faire present de ce mien labeur, digne de soy, à lui qui est mon Seigneur et sou-
verain Maistre <…’; in the Latin edition (Strada 1553<a>), p. A 4-v.: ‘Eius benignitate tan-
tisper, dum in Germania vixi, quidquid expetebam, liberaliter et comiter suppeditatum
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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