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145In
Hans Jakob Fugger’s Service
other collectors mentioned in the Διασκευέ include Carolo à Porta, indicated
by both Strada and Goltzius as ‘Germanus’, but probably the second son (ca
1532–1558) of the marchand-libraire Hugues de la Porte (ca 1500–1572) who
himself owned a collection of classical sculpture.69 The ‘Abbot of St. Irenaeus’
mentioned by Strada can be identified with François Laurencin († after 1584),
prior of the monastery dedicated to Lyon’s local saint: in his house Beaure-
gard on the Montée du Gourgillon he kept ‘two thousand [ancient coins] both
in bronze and in gold and silver, with infinite curiosities of statues, engraved
stones and other antiquities, so that one could value his cabinet as a treasure-
house of Antiquity’. Later Laurencin would acquire the house of Du Choul,
near his own, together with the inscriptions it contained.70 Finally Strada men-
tions some Italian collectors: ‘Tomasso Sartinum Florentinum’ and ‘Annibale
da Verona’, and some others who cannot be identified. On the other hand, if
Strada ever actually met one of the brightest stars of the Pléiade, Joachim du
Bellay, as is suggested by his possession of a manuscript by the latter’s uncle
Guillaume, this probably happened in Rome a year later, where the poet acted
as intendant of the household of his uncle Cardinal Jean du Bellay.71
Contacts with Gabriele Symeoni are not documented, but very likely, in view
of their sharing both antiquarian and technological interests. Symeoni’s anti-
quarian interest is apparent in the epitaph he devised for himself [Fig. 3.58].
His expertise in the field appears in his many publications, such as Illustratione
de gli epitaffi et medaglie antiche, printed by de Jean de Tournes, Strada’s print-
er, in Lyon in 1558, or his detailed description of the Auvergne,the Description
de la Limagne d’Auvergne en forme de dialogue, which was published by Guil-
laume Rouillé in 1561. An indication of their possible contact is the extremely
complex allegory of the printer’s mark that Strada chose for himself for his
book printed in Lyon [Fig. 3.61]: one of its motifs, the butterfly kept in the claws
of a crab with the device Festina Lente was derived from a coin of Augustus,
69 Bruyère 1993, p. 110.
70 ‘<…> deux mille [monnaies antiques] tant de cuivre que d’or et d’argent, avec infinies
singularitez de statues, graveures et autres antiquitez qu’on pouvoit estimer son cabinet
un trésor pour une antiquité’, anonymus notes in a copy of Guillaume Paradin, Mémoires
de l’histoire de Lyon (Lyon 1573) in the Bibliothèque municipale at Lyon, quoted in Bruyère
1993, p. 112.
71 On sixteenth century collectors of antiquities in Lyon, see now Bruyère 1993 and Guille-
main 1993. Sartino probably was a member of a Florentine merchant family whose pres-
ence in Lyon (under the names of Sertini or Seratini) goes back at least to 1502 (Gascon
1971, pp. 846 and 907). On Strada’s possible contact with Du Bellay, see below.
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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