Page - 329 - in Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Volume 1
Image of the Page - 329 -
Text of the Page - 329 -
329Imperial
Architect: Background
135 Serlio 1575, p. 97; Dreger 1914, pp. 103–104; p. 158; Kühnel 1956, p. 258; on the Salle de Bal in
Fontainebleau, see Frommel 2002, p. 252, 254–258. Though its design was published only
in Strada’s edition of the Seventh Book, Frankfurt 1575, it might have been known in Vi-
enna through the contacts between Ferdinand and his sister Eleonora, Francis i’s widow.
136 Sigmund de Preda’s defence against the critics included the structural function of these
piers, which were to support the outside wall of three stories, leaning against the façade
of the chapel. The critics held that the windows—‘dj fenster am Gwelb so nun im ersten
gaden gemacht seinn’—gave the facade ‘ein sölche ungestalt unnd nit annders ansehen,
als obs ein gefenkhnus sein sol’ (Kühnel 1956, pp. 258). Instead of a blind arcade, perhaps
a rustic podium including small windows lighting the vaulting of the ground floor was
envisaged. In response to the criticism of the ‘unfinished’, rustic effect of the piers, De
attempt to construct a rustic socle zone, with blind or open arches, in the man-
ner of Florentine or Roman palace architecture. Perhaps it was even planned
to carry an open loggia or a blind arcade on the piano nobile, the level of Fer-
dinand’s apartment: a similar solution had been proposed a few years earlier
in Sebastiano Serlio’s project for the Salle de Bal in Fontainebleau [Fig. 5.88].135
The first designs and models, as well as the first section, when it began to
rise above its foundations, incited voluble resistance both from the local of-
ficials and from some of Pozzo colleagues: the piers were considered unfin-
ished and took up too much space of the courtyard; the first floor windows
(or rather non-preserved mezzanine windows giving into the vaulting of the
ground floor?) were unsightly and the whole thing looked more like a prison
than an Imperial residence. The critics’ lack of understanding is clear from
their abhorrence of the ‘unfinished’ stone of these piers, that is, of its ‘rustic’
quality.136 This standard element of Italianate classical architecture was quite
Figure 5.87 Rusticated pilasters at the entrance to the Burgkapelle, Vienna, Hofburg.
Figure 5.88 Sebastiano Serlio, Fontainebleau, project for the Salle de Bal, 1545–1546, wood-
cut from the Settimo Libro (Frankfurt 1575).
back to the
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