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at the Imperial Court
me’.34 Strada had finally decided against this because Lazius had not published
his pamphlet (though doubtless he had circulated it among his friends at
court), and Strada was afraid that he would offend too many people by an open
reply.
4.2.6 Outcome of the Affair
This letter is the last we hear of the controversy. The planned catalogue was
never realized: though Lazius’ numismatic incompetence had been sufficient-
ly demonstrated, the Emperor could hardly give the task to someone else. Af-
ter his death in 1565 perhaps the need was less felt, because of the presence of
Strada’s numismatic manuscripts in the Hofbibliothek, which included most
of the more important coins in the Imperial collection.35 The open quarrel
between Lazius and Strada was probably hushed up in some way, though they
never became friends.36 For Strada the positive aspect of the controversy was
that it made his name known to everyone who counted immediately upon
his arrival at court: on the principle that even bad publicity is better than no
publicity, he could take any hostility he doubtless met with in his stride. He
had moreover established his competence as an antiquary, and could claim
to King Maximilian to be—as we have seen—’connossiuto per mondo provi-
sionato da la Cesarea et [Vostra Maestà] per Jacomo Strada Antiquario’.
Though his explicit assumption of the style of Imperial Antiquary appears
to have been tacitly condoned by King Maximilian, it was not officially rec-
ognized until some years later: the Emperor would have been careful not to
offend Lazius’ feelings more than necessary. Because he had been asked to
come to court to enter Imperial service, already in November 1558 Strada had
requested that he would be formally enrolled in the Hofstaat, the Imperial
34 That Strada did not boast in vain of Vrančić’s interest is borne out by the long letter in Lat-
in the Bishop addressed to him a few months later, apostrophising Strada as ‘ urbanissime
Strada’ and similar complimentary epithets (DOC. 1558-12-04); cf. below, Ch. 11.1.
35 It should be noted that Strada did not use the Imperial collection for his Διασκευέ, in
which hardly any coins are described from the exemplars in Vienna: the drawings and
descriptions in his numismatic works were based on the material he had collected in the
years before he came to court.
36 Strada did obtain or compile a manuscript based on one of Lazius’ published works, Com-
mentariorvm Reipublicae Romanae illius, in exteris prouincijs, bello acquisitis, constitutae,
libri duodecim, first printed by Oporinus, Basel 1551, which he intended to republish in an
augmented second edition, since it is added to one of the copies of his Index sive cata-
logus [Appendix D, nr. 46].
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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