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Pantagato had not allowed Strada to study their coins or, more likely, did not
possess any of particular merit: after all not every humanist felt it necessary to
spend his money on such tokens of erudition. While Strada describes only a
few coins from the collection of Alessandro Farnese, the fact that he mentions
about fifty from the cabinet of Annibale Caro, an important man of letters
who was particularly closely connected to Farnese, indicates that he did in-
deed have regular contacts with the circle of the Cardinal, whom he describes
as his patron. Strada also visited the collections of a number of Roman pa-
tricians, such as Stefano del Bufalo, Alessandro Corvino and the enigmatic,
unidentified Pyrrho Aloysio (Alvise?) Manlilio (Manilio?). Chief among these
was Achille Maffei, whose family had collected antiquities already since the
end of the fifteenth century, and whose numismatic collection appears to have
been of outstanding size and quality: Strada included the description of hun-
dreds of Maffei’s coins in the Διασκευέ.114 Several entries confirm that Strada
actively hunted for antique coins; he regularly frequented the shops of famous
antique dealers, though he rarely mentioned them by name: ‘in Romano sub-
urbio apud quendam antiquarium’, ‘apud antiquarium in Foro Panthei’ and so
on. Exceptions are the most renowned of Roman antique-dealers, Antonietto
‘delle Medaglie’ and a certain ‘Dominicus’, probably the gem-cutter, medalist
and dealer Domenico Compagni, also known as Domenico de’ Cammei. It is
not clear whether he is identical with a Venetian dealer ‘Domenico antiquario’
whose shop Strada visited on another occasion. But Strada also found antique
medals among the stock of goldsmiths, money-changers and junk-dealers:
‘apud quendam aurifabrum’, ‘apud mensarium quendam Romae in suburbano
vico’, ‘apud scrutarium Romae prope Pacis’, ‘apud scrutarium Romae in Campo
Florae’, and ‘è regione D[ivi] Marcelli’, and so on.115 Oddly enough Strada ap-
parently was not allowed to study Pirro Ligorio’s collection, which is never re-
ferred to, though he later did cite Ligorio’s opinion on a given coin in support
of his own, and must have met him repeatedly.116 He did, however, consult the
114 Most of the collections visited by Strada are listed in the survey of Roman collections of
antiquities of the sixteenth century given in Bober-Rubinstein 1986, pp. 471–480; for the
Maffei collection, see p. 476, which also illustrates Maarten van Heemskerck’s drawing of
the cortile of the Maffei house in the Via della Pigna; see now also the survey of owners
mentioned by Enea Vico in Missere Fontana 1994.
115 Little is known about these various shops: see McCrory 1987. Strada does not mention two
other well-known dealers, Vincenzo and Gian Antonio Stampa, who purveyed antiquities
to the Florentine court.
116 In a letter to Maximilian ii, doc. 1559-06-06; published in Jansen 1993<a>, pp. 233–235.
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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