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315Imperial
Architect: Background
108 I am grateful to Jan Bouterse for providing me with the correct names of these instruments.
109 The anonymous artist who made the print illustrating the temporary ball-room created
in wood and canvas uses a similar convention to indicate the faux marbre of the huge
wooden Corinthian columns carrying the roof (cf. below, Ch. 6.4). The treatment of the
floor in the beautifully illuminated copy presented to Ferdinand himself strongly suggests
marble (illustrated in Karner 2014, Fig. ###).
through the crowd of lower-ranking courtiers held back by members of the
Imperial guard (‘Hartschiere’ and ‘Trabanten’) carrying halberds. In the front
on the right musicians of the Emperor’s chamber—a cornett, three shawms
and two sackbuts, grouped around a table with their open scores—add lustre
to the occasion, while two viola players are waiting their turn.108
The print also gives a detailed and faithful image of the disposition and the
decoration of the dining chamber. It is clear that the room had been explicitly
adapted for its particular function: next to the tall windows a huge dais raised
the dining table three steps above the rest of the chamber, from which it was
separated by a balustrade. Above the head of the table, the Emperor’s seat, a
huge canopy of figured damask underlined his status, while a huge ‘Kredenz’
or sideboard of four steps against the wall on the right displayed a profusion of
huge and splendid silver and silver-gilt vessels and plates, part of the Emperor’s
treasure. The diners were sitting at three sides of the table on benches with
backs to them, all covered in rich damask or velvet cloth.
The Gothic portal partly visible on the right shows that the room always had
been part of a representative section of the Hofburg: it dated from the late fif-
teenth century, when the medieval ‘Tanzsaal’ or ball-room was split up in sev-
eral smaller spaces. The traditional monumental Kachelofen on the left, a huge
stove constructed of green ceramic tiles, assured comfort also in winter. While
the dais was probably executed in wood, which again would heighten comfort in
winter, the floor of the chamber appears to have been executed in something like
crazy-paving. It is difficult to decide whether this was actually the case, which
seems unlikely: probably the engraver attempts to indicate a polished marble
floor. Though according to the sources most floors in the Hofburg were of wood
or were covered by ‘Estriche’, terracotta tiles, this very representative room may
have been an exception.109 The walls were covered in a set of huge sixteenth-
century Flemish figural tapestries depicting what appear to be battle-scenes.
The print gives pride of place to the most spectacular element in the deco-
ration, the splendid timber ceiling. This consisted of huge beams dividing
the surface in square and octagonal sections filled with what were probably
painted, possibly sculptured and gilt architectural motifs, each panel centring
on a huge rosette. This ceiling was obviously the one up-to-date Renaissance
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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