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357Projects
for Emperor Ferdinand i
itself. This is a building type that was current at the time in Southern Germa-
ny, Austria and Bohemia, and would remain popular at least until the end of
the century. The arcaded courtyard or Laubenhof had its roots in late medieval
castle architecture of the region, but the forms that developed in the sixteenth
century were strongly influenced by Florentine and North-Italian Quattrocen-
to architecture. In many cases such castles were in fact designed and built by
North-Italian stonemasons and builders. The trendsetter was Schloss Porcia in
Spittal an der Drau, the earliest Renaissance castle in Austria, built from 1534 for
Gabriel Salamanca, the Spanish treasurer and influential courtier of Ferdinand i
[Figs. 6.27–6.28]. The type is particularly richly represented in Bohemia. Exam-
ples are Litomyšl, Opočno, Bučovice, to name but a few. Many of these are of lat-
er date, and were probably influenced to some extent by the Stallburg itself.30
Though planned from the late 1550s, construction appears no to have begun
until 1563. By the time of Ferdinand’s death in 1564 it still was not completed:
only in 1565 the masons Bärtlme Bethan and Antonio Pozo were paid for the
construction of ‘den obristen ganng umb und umb 27 Pögn’ and a further seven
arches ‘bej dem Eingang neben der Erdt’. This implies that the original plan
was for a U-shaped building enclosing a courtyard of seven by ten bays. This
was closed off towards the Lustgarten by a fourth wing of only one story high,
consisting of a loggia of seven bays; possibly (but unlikely) this may even have
been open on both sides. Even if this reading of the document is right, this
fourth, shallow wing was run up to full height at least before the end of the cen-
tury, as is evident from Hoefnagel’s 1609 bird’s-eye view of Vienna [Fig. 6.20].31
30 Plonner 1989; Rieger / Mitsch 1962.
31 Kühnel 1956, p. 215. The type of a U-shape arcaded courtyard closed off by a lower story
on the fourth side became quite common in Bohemia in the later sixteenth century
Figure 6.�9 The Stallburg, Vienna, corner Reitschulgasse and Habsburgergasse.
Figure 6.�0 The Stallburg, in Jacob Hoefnagel’s 1609 bird’s-eye view of Vienna.
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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