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7 Polleross 2006. See also Kaiser Ferdinand i. 2003; pp. 375–376, Cat. No. iv. and p. 530, Cat.
No. x.12; Holzschuh-Hofer 2014(b).
8 Cf. above, Ch. 2.3; Cles’ reference to the Viena Hofburg discussed in Gabrielli 2004, pp. 19–20,
and 390–391, doc. 29; and Dellantonio 2002. Bernardo Cles (Clesio, Bernhard von Cles) has
been studied exhaustively both as a politician and a patron, as has the Magno Palazzo: see
[Fig. 5.3]. Early examples of the use of the antique manner in commissions
of Ferdinand i are the portal of the Zeughaus or arsenal in Wiener Neustadt,
which is dated 1524 [Fig. 5.4], and the tomb of Count Nicholas Salm, the de-
fender of Vienna against the Turks in 1529, which Ferdinand commissioned
from Loy Hering shortly after count Salm’s death in 1530 [Fig. 5.5].7
Ferdinand was not the only patron in the Habsburg lands indulging a taste
for a style of architecture based on Antique example. The new approach was
pioneered also by a few highly educated, wealthy officials who were all close
collaborators of the ruler, and who all, because of their origin, their studies,
or both, had a more cosmopolitan outlook than their contemporaries. By far
the most significant of these is Ferdinand’s Chancellor Bernardo Cles, Prince-
Bishop of Trent, who in 1528 added a new residential block to his residence,
the Castello del Buonconsiglio at Trent. He had this ‘Magno Palazzo’ built
and decorated in the new manner introduced by Giulio Romano at the Pala-
zzo del Te by a team of masons and craftsmen recruited in Mantua, and the
painters Girolamo Romanino, Dosso and Battista Dossi, and Marcello Fogo-
lino [Figs. 5.6–5.9]. The role of this spectacular complex in inspiring Duke
Ludwig x of Bavaria to construct part of his Stadtresidenz in Landshut in the
Italian manner has already been referred to, and its influence on residential
architecture North of the Alps has been considerable.8
Figure 5.3 Anonymous sculptor, Ferdinand i as Roman Emperor, ca 1520–1525.
Figure 5.4 The portal of the Zeughaus or Arsenal in Wiener Neustadt, dated 1524.
Figure 5.5 Loy Hering, tomb of Count Niklas Salm, after 1530; Vienna, Votivkirche.
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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