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Chapter
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the Codex Coburgensis, a volume of detailed, carefully drawn reproductions of
ancient monument that has been hailed as ‘das erste wissenschaftliche Bild-
kompendium zur antiken Mythologie’, or as the first archaeological handbook
of the Renaissance.86
There were also a number of socio-political reasons why the humanists resi-
dent in Rome were especially drawn to the study of Antiquity. In the first place,
such study was considered an erudite, virtuous pastime that was particularly
suitable for the learned and celibate clerics that made up the greater part of the
Papal court. Antiquarian studies were explicitly recommended in Paolo Cor-
tesi’s treatise De cardinalatu of 1510, in which Cortesi argued that in dispensing
patronage, his ideal cardinal should ‘select for special consideration men who
engaged in humanistic studies, and especially those who investigated the more
recondite aspects of Antiquity and the Latin language. He also expected that
the cardinal would be able to appreciate such erudition’.87
When Cortesi wrote his treatise, another important motive for turning to
antiquarian studies had not yet manifested itself. This was the advent of the
Reformation, which based its doctrines consistently on Holy Scripture and the
authority of the early Church. Attempts to reconstruct the early history of the
Church—either to prove where it had gone off the track, as the Protestants
tried to do, or to demonstrate that the Roman Catholic Church was the true
and uncorrupted successor of the Church of the Apostles, as the Counter-Ref-
ormation attempted—often had to rely on antiquarian data (inscriptions in
catacombs, Early-Christian sarcophagi, the mosaics in the Christian basilicas
dating from the later Empire). The chief attempt from the Protestant side was
the history of the Church known as the Magdeburg Centuries: edited by Mat-
thias Flacius Illyricus, its first instalment appeared in 1559.88
It is no coincidence, I think, that the people involved in preparing the Roman
Catholic response to the Centuries were often the same who are studied nowa-
days for their contribution to the development of classical studies. The best
example is Onofrio Panvinio [Fig. 3.90], a young and very industrious scholar
who both prepared an edition of the Fasti Capitolini and a new augmented
edition of Platina’s history of the Popes. His interest in the physical remain-
ders of both pagan and Christian Rome is borne out by his correspondence
86 On the Codex Coburgensis, see Wrede/ Harprath 1986 and Harprath/ Wrede 1989.
87 D’amico 1983, p. 52. I am grateful to Gigliola Fragnito-Margiotta Broglio for having first
drawn my attention to Cortesi (and for many suggestions and fruitful discussions).
88 The first volume of the Annales ecclesiasticae, the Catholic refutation of the Magdeburg
Centuries edited by Cesare Baronio, appeared in 1588; some of the greatest classical schol-
ars of the time, such as Onofrio Panvinio, Carlo Sigonio, Roberto Bellarmino and Alonso
Chacón, were, with St Peter Canisius, engaged in its preparation. See Orella y Unzue 1976;
Cochrane 1981, pp. 457–463.
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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