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Chapter
3168
Maffei, Benedetto Egio, Gabriele Faerno and numerous others on many
different subjects. All students of Antiquity have recourse to them, as to
the temple of the Delphic Apollo, and hear them with great enthusiasm
and attention, not dispersing without having obtained great profit from
their conversation. Of incredible perfection is such wisdom and elo-
quence, when it is found in persons of sensitivity and refinement, and of
spotless personal integrity.108
There are sufficient indications to show that Strada did indeed maintain per-
sonal contacts with a number of the members of this circle. He claims to have
met Onufrio Panvinio [Fig. 3.90] in the Palazzo Farnese ‘where, to my great
pleasure, I daily enjoyed the conversation of Onofrio Panvinio, whose great
assiduity and precision in his research of past times I have always greatly ad-
mired’. These contacts are confirmed by the fact that Panvinio allowed Strada
to publish a first version of his treatise on the Fasti Capitolini and also made
available to him a copy of his manuscript history of the Popes. Strada’s edition
of these two works, the Fasti et Triumphi and the Epitome Pontificum, would
appear in 1557 with dedications to the Emperor Ferdinand I and his eldest son,
Maximilian King of Bohemia, respectively.109 It appears, however, that Strada
owned his good contacts with the rather shy and withdrawn Panvinio in par-
ticular to Antonio Agustín [Fig. 3.89] From Agustín’s correspondence with Pan-
vinio it appears that it was the former who had drafted some sort of a contract
between author and publisher: so if the suggestion that Strada print the book
was not actually his, at least he strongly supported it.110
Strada’s contacts with Antonio Agustín appear to have been particular-
ly close, and their intimacy was the obvious consequence of the interest in
ancient numismatics they shared. By the middle of the sixteenth century the
collecting of ancient coins had become so fashionable as to generate a lively
community of dealers and peddlers, chiefly in the neighbourhood of the Cam-
po de’ Fiori, and several collectors possessed quite impressive cabinets, though
by the 1550’s none of these was as yet organized in a very systematic way: that
was first to be realized by the splendid collection brought together by Fulvio
Orsini, librarian of Alessandro Farnese.111 Strada spent a great deal of his time
in inspecting these various coin-cabinets, whose contents he studied often in
108 Strada’s preface to Panvinio 1557<a>.
109 For the publishing history of these books, see below, Part 2, chapter 3.
110 Letters dated Roma, 27 November 1557 and 8 January 1558: ‘io vi mando <…> la fede del
contratto con Strada <…’, in Agustìn 1980, pp. 281, 286.
111 On Fulvio Orsini, see Nolhac 1887.
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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