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171In
Hans Jakob Fugger’s Service
medagliere of his other famous colleague, Enea Vico, but it appears that this
visit took place in Venice.117
The most important collection Strada studied, however, was that belonging
to Antonio Agustín, which appears to have been Strada’s primary source, of
even greater importance than his own collection. In the five volumes I have
been able to study Strada mentions about sixty to seventy serious collectors,
but Agustín’s medagliere alone is responsible for over a fifth of the coins de-
scribed. Though it is well known that Agustín was one of the principal experts
in the field, whose Dialogos de medallas, inscriciones y otras antiguedades of
1587 remains an important source for the history of numismatics in the Re-
naissance, very little is known about his collection.118 Strada’s descriptions are
of signal importance in an attempt at reconstruction, a reconstruction that
should be based on the holdings of the Royal Collection in Madrid, because
King Philip ii inherited most of Agustín’s library and collections. Certainly it
was of outstanding quality, if Strada so often preferred Agustìn’s exemplar of
a given type to those preserved elsewhere. Yet it should be kept in mind that
Strada’s exceptional dependence on Agustín’s collection does not necessarily
mean that at the time of Strada’s visit it was unrivalled in Rome for quality and
quantity of its contents. It rather indicates that Strada was accorded exception-
al opportunity to repeatedly study and copy Agustín’s medals, and this suggests
that the intimacy between auditor and antiquary was more intense than is sug-
gested by the few references to Strada in Agustín’s published correspondence.
It is difficult to recreate their relationship exactly. Strada’s labour in Agustín’s
cabinet will rarely have been accomplished in the actual presence of his host,
whose responsibilities allowed him little time for his erudite pursuits. But
Strada was not the only student to occupy himself with Agustín’s coins, and
imperceptibly he must have learned a great deal from comparing notes and
exchanging opinions with his fellow-guests. In Agustín’s few moments of lei-
sure more formal discussions must have taken place, either in his own house
or elsewhere, in which many of the learned men Strada claimed to have known
in Rome habitually took part. Decades later the venerable Archbishop of Tar-
ragona still cherished the memories of such evenings, which he attempted to
recreate in the moments when he could relax from his ecclesiastical duties: the
Dialoghi intorno alle medaglie describes the aged prelate instructing his young
friends in the importance of ancient coins as historical sources, and teaching
117 Strada referred to Ligorio in his letter to Maximilian ii, ibidem.
118 Agustín 1587; Italian translations by Dionigi Ottaviano Sada and by Ascanio Donangeli,
both published in Rome in 1592: Agustín 1592<a>; Agustín 1592<b>.
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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