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233Tasks
at the Imperial Court
Likewise this must have been the case for two separate volumes of similar
copies of festival designs from Strada’s workshop, which have been identified
recently in the Kupferstich-Kabinett in Dresden.85 Both volumes reproduce
several of the same inventions found in the Vienna volume; the more volumi-
nous one contains a title page and ninety-nine designs carefully drawn in pen,
brown ink and a light yellow/brown wash [Fig. 4.20–4.22]. The title describes
these costumes as ‘antique’, ‘Greek’ and ‘Roman’ equestrian statues, but also
refers specifically to their use in a festival context. The designs are certainly not
directly based on antique sources, but document costume designs for contem-
porary festivals—witness the drawings for musicians and for figures in fanciful
medieval or oriental garb. Just like Strada’s numismatic albums, of a similar
lay-out and style, this volume was certainly intended for a patron’s library, rath-
er than for an artist’s workshop.
This supposition of their documentary function is corroborated by the ex-
istence of a number of woodcuts by Jost Amman of ‘Stattliche Mummereien
/ so vor zeiten grosse Potentaten gehabt haben’ [Fig. 4.23–4.25]. Two of these
are based on designs also present among the Vienna drawings [cf. 4.18–4.19].
Ilse O’Dell, who first published these woodcuts, did not know the Vienna draw-
ings. She nevertheless linked the prints to the Stradas, because of the contract
drawn up in November 1574 between Ottavio Strada and the engraver, who was
to cut no less than two hundred of such ‘Mummereyen’.86 It is not quite clear in
85 These two volumes were identified by Gudula Metze, curator at the Kupferstich-Kabinett
Dresden, who signalled them to Thomas DaCosta Kaufmann. I am grateful to Prof.
Kaufmann for suggesting that I be informed, and to Dr Metze for showing the material
to me at short notice, for discussing it with me and for allowing me to include a first
brief appraisal here. The volumes were mentioned earlier in Hölscher / Schnitzer 2000,
pp. 133–134 cat. nr. 42 and Melzer 2010, pp. 441, without mentioning their provenance from
Strada’s workshop. skd-kk, inv. nr. Ca 93: Equestrium statuarum, tam virorum quam mu-
lierum, formae elegantissimae, una cum vestimentis ipsorum acu artificiosissimae pictis et
arte Phrigionica ingeniöse elaboratis, quibus olim induebantur, item cataphractorum equo-
rum cum eorum phaleris ornatissimis, quemadmodum olim Romani et Graeci in bellis atque
etiam pompis publicis et ludis curulibus circensibusque usi sunt, iuxtaque ipsos satellitum
praecedentium quoque eiusmodi vestibus indutorum formae; his quoque larvarum atque
vestimentorum histrionicorum, quibus antiquitus in tripudiis et saltationibus noctu uteban-
tur, varia genera adiuncta sunt; a folio volume including a title page and 99 drawings in
pen and brown ink and a light brown/yellow wash of various inventions for festival cos-
tumes; skd-kk, inv. nr. Ca 94: untitled; a folio volume containing 30 drawings in pen and
black ink reproducing various inventions for festival costumes. Both volumes reproduce
many inventions also included among Strada’s Vienna festival designs. A brief note by
Dr Metze and myself on these and some other books of antiquarian drawings from Stra-
da’s workshop in Dresden is forthcoming in an Italian Festschrift.
86 O’Dell 1990, who provides a full transcription of the document (p. 244) and reproduces all
of the twenty-one surviving woodcuts. They are now also available in the relevant volume
of Hollstein’s corpus of German prints: Seelig 2003, nrs. 215/1–154, pp. 198–236.
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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