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159In
Hans Jakob Fugger’s Service
the Colosseum, the Arch of Constantine, and so on.84 The study of such monu-
ments was a tradition that went back at least to the earlier Accademia Romana
founded by Pomponio Leto. The need to confront its results with Vitruvius had
already been felt by Leto’s pupil Andrea Fulvio. Fabio Calvo, another of Leto’s
pupils, prepared an Italian translation of Vitruvius for Raphael, Fulvio’s asso-
ciate in antiquarian studies. This was to serve as an aid in Raphael’s project
aimed at reconstructing the topography of Ancient Rome, an erudite project
which Baldassare Castiglione explained on Raphael’s behalf to Pope Clement
vii.85
The re-founded Accademia Romana or Accademia della Virtù probably
based its research on what had been preserved of Raphael’s project. It should
be noted that its programme was not limited to narrowly artistic concerns, but
explicitly strived to collect all available evidence helpful to reconstruct in the
mind both the physical environment of Ancient Rome and the civilisation of
which that environment was the backdrop. Information was to be collected
by measuring ruins, by copying, studying and interpreting coins, medals, in-
scriptions, reliefs and sculptures, bronzes, vases, etc. The column of Trajan was
studied not only, and not even in the first place, for its aesthetic value, but for
the information it provided about Trajan’s campaigns, and in general about
the manner in which the Romans used to combat and defeat their enemies.
For the identification and interpretation of deities, persons, personifications,
constructions, objects depicted in coins or sculpture it was essential to utilize
the literary sources of Antiquity that in ever greater quantity were made avail-
able by humanist philologists. This was an essentially historical or antiquarian
approach, and it certainly merits to be taken seriously as a precursor of modern
archaeological method. Among much other material it produced, for instance,
84 A general review of antiquarian studies in sixteenth century Italy in Cochrane 1981, Chap-
ter 15, pp. 423–444. Daly Davis 1989 and 1994, pp. 11–20, discuss the Vitruvian Academy,
and analyse its programme as outlined in a letter by Claudio Tolomei printed in 1547:
Tolomei 1547; modern edition and comment in Barocchi 1977, iii, pp. 3037–3046; see also:
Pagliara 1984–1986, pp. 67–74; Kulawik 2002, pp. 119–127.
85 bsb-hs, Cod. Ital. 37; a critical edition in Fontana/Morachiello 1975; contrary to these edi-
tors’ assumption, Calvo’s translation was not among the books acquired by King Ludwig i
from the heirs of Piero Vettori: not only does it lack the mark of ownership that identifies
the Vetttori codices in Munich, but it is in fact mentioned in the Inventory of the Munich
Kunstkammer drawn up by Johann Baptist Fickler in 1598 (fol. 8v, nr. 109: ‘Vitruvius de
Architectura, in welsche sprach transferiert, und von der hand geschriben, in ein alt cop-
ert eingebunden’) and in another, even earlier list of architectural books in Munich. The
most obvious explanation is that it was included in the material from Raphael’s estate
acquired by Strada from Perino del Vaga and Giulio Romano; cf. Diemer/ Diemer/ Sauer-
länder 2008, vol. 1, pt. 1, cat.nr. 112, pp. 39–40, and vol. 3, pp. 230, 241, 252 and 491.
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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