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Chapter
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ho inteso che hà in disegno non solamente lo stato di Vostra Serenità et particolarmente
tutte le sue fortezze con molti discorsi fattigli sopra, ma anco il sito di questa Città con
avvertimenti et discorsi come si potesse offendere’. Since it is unlikely that Maximilian
was contemplating an assault on Venetian territory, such material must have served as
documentation used by himself, his commanders and his military engineers to improve
standards of fortification in his own domains.
133 Strada and Aconcio had many things in common: Strada had close contacts with another
of Charles v’s Italian commanders, the Marquis of Marignano; he had produced a set
of designs of exactly the same type of machinery as that for which Aconcio obtained
his patent; he had dealings with Pietro Perna, Aconcio’s Calvinist publisher in Basel; his
orthodoxy was at least suspect; they were both interested in knowledge and its transmis-
sion, Aconcio theoretically, Strada more practically. There is no evidence that they knew
one another, but it is likely that they knew of one another.
134 Holzschuh-Hofer 2014(a), pp. 104–108, Abb. iv.16 and iv.17.
It is quite probable that Maximilian welcomed Aconcio not just because of
his interesting, perhaps congenial philosophical and theological ideas, but also
and primarily because he was one of those who had brought the king ‘some-
thing new pertaining to the arts of war’. If Aconcio, bringing both gifts of peace
and war, was welcome, it is not surprising that Strada, mostly bringing gift of
peace, was warmly welcomed as well.133
5.5.2 Was this Enough?
Though there were many master-masons and architects active at Ferdinand’s
court, some of them quite talented, none of these—not even the one really gift-
ed and intellectual architect among them, Bonifaz Wolmut—appears to have
had sufficient authority to guide the Imperial works in a consistent direction.
This is borne out by the confusion evident among Ferdinand, the members of
his privy council, his Master of Works Hermes Schallautzer, and the various
German and Italian architects and/or master-masons involved, in the attempt
to design and realize a new, more monumental entry and staircase to the Royal
apartment and the castle chapel. According to Renate Holzschuh-Hofer’s de-
tailed account, this involved various models sent up and down to Ferdinand,
at the time in Prague, various discussions among committees of various size
and composition, and at least two trips to Prague of the principal designer,
Francesco de Pozzo, in order to discuss the project with the King in person; in
the end the project appears to have taken five years to complete.134 From the
documents and the few remains it is difficult to envisage what may have been
Pozzo’s and Ferdinand’s original intentions. But it is tempting to interpret such
remains, four heavily rusticated pilasters at the entrance to the Burgkapelle in
the Schweizerhof [Fig. 5.87], not only as the buttresses (the sources speak of
‘Contraforten’) necessary to support the facade of the chapel, but also as an
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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