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Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Volume 1
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Chapter 8386 Though the word ‘stanza’ might here still refer to a ‘room’ in the Kunstkam- mer, the word ‘fabricare’ suggests that the construction of a new building was intended, rather than the adaptation of an already existing space to the Duke’s ‘antiquaglie’. Certainly the letter of instruction the Duke himself addressed to Strada on 20 October leaves no room for doubt that a new building was to be commis- sioned. The Duke tells Strada that he has decided on the site where the new ‘Haus für die antiquitäten’ is to be built; he will send Strada a plan of the plot as soon as possible, together with his own thoughts on the subject, ‘die sachen dest bas darnach habest zurichten’, in order for Strada to arrange things ac- cordingly.8 Three weeks later the Duke writes again to Strada, stressing his wish ‘das Studium mögen aufrichten unnd dasselb mit ehisten in ain wesen bringen’: that is, ‘to build the studio and have it brought into being as soon as possible’. He tells Strada that Fugger will send him: … the [plan of the] site of the place where we intend to build the house, according to which you can plan the building, and write all things in the margin, so that we can look into one thing and another, and afterwards we can the better discuss with you our wishes and opinions.9 Here it is quite clear that a new building is envisaged, and that Strada is ex- pected to produce a design for it, which can be the subject of a further oral con- sultation, after having been duly considered by the Duke and others: doubtless Fugger and the local architects are implied. Acting on the Duke’s direction, Fugger himself had already written to Strada the day before, though it is not quite clear whether he already had sent off the drawing of the site: About the building [‘palazzo’] which his Excellency wishes to construct, he has planned to have done all the preparatory work for it [on the site, DJ], and then to have designs made [for it] by some masters, as well as venire in qua’, cited in Von Busch 1973, p. 123 and 343, n. 99; Weski/Frosien Leinz 1987, Text- band, p. 466, nr. 132. 8 Von Busch 1973, p. 123; Weski/Frosien Leinz 1987, Textband, p. 466, nr. 133: ‘Mit erstem wöl- len wir dir ain verzaichnis des Plaz darauf wir vermainend das Haus für die antiquitäten zu sezen, zueschicken, hatt bisher unnser abwesenheit halber von haus nit sein khonnden. Wollen dir auch daneben usnnser mainung vermelden, die sachen destbas darnach habest zurichten’. 9 Von Busch 1973, p. 123; Weski / Frosien Leinz 1987, Textband, p. 466, nr. 137: ‘Der Fugger wirdt dir den grundt des Plaz, darauf wir die behausung vermainen Zubauen, Zueschicken, demn- ach wirstu den Paw khinden Richten, unnd alle sachen nach lenngs Zuschreiben, damit wir unns in denselben unnd anndern ersechen, unnd hernach mit dir unnser gelegenheit unnd mainung zu seiner Zeit desto bas mündtlich Reden khonnden’.
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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

  1. Preface XV
  2. Acknowledgements XVIII
  3. Acknowledgments of Financial Support Received XXI
  4. List of Abbreviations XXII
  5. Introduction: The Image—Or from Whom (Not?) to Buy a Second-Hand Car 1
    1. 0.1 The Portraits of Jacopo and Ottavio Strada 1
    2. 0.2 Why are These Portraits so Special? 4
    3. 0.3 Motions of the Mind 4
    4. 0.4 What is Known About Strada: Early Notices 9
    5. 0.5 Quellenkunde: Some Sources Published in the NineteenthCentury 15
    6. 0.6 Kulturgeschichte before World War II 19
    7. 0.7 Romance: Josef Svátek and the Rudolfine Legend 21
    8. 0.8 A (Very) Modest Place in the History of Classical Scholarship 24
    9. 0.9 Contemporary Scholarship 25
    10. 0.10 What Has Not Been Written on Jacopo Strada 37
    11. 0.11 Weaving the Strands Together: The Purpose of this Study 39
  6. 1 Early Years: Family Background, Education, Giulio Romano 45
    1. 1.1 Family Background 45
    2. 1.2 Mantua and the Gonzaga 50
    3. 1.3 Formal Education 54
    4. 1.4 Artistic Training 57
    5. 1.5 Giulio’s Collections 60
    6. 1.6 Early Training as a Goldsmith? 63
    7. 1.7 Significance of his Mantuan Background for Strada’sDevelopment 65
  7. 2 Travel: Rome, Landshut, Nuremberg—Strada’s Connection withWenzel Jamnitzer 67
    1. 2.1 Early Travels 67
    2. 2.2 Residence in Germany 69
    3. 2.3 The Landshut Hypothesis 71
    4. 2.4 Romance in Franconia: Strada’s Marriage and his Settling in Nuremberg 79
    5. 2.5 Strada and Wenzel Jamnitzer 83
  8. 3 In Hans Jakob Fuggers’s Service 107
    1. 3.1 Hans Jakob Fugger 107
    2. 3.2 Fugger as a Patron and Collector 114
    3. 3.3 Fugger’s Employment of Strada 121
    4. 3.4 Architectural Patronage for the Fuggers: The DonauwörthStudiolo 134
    5. 3.5 Strada’s Trips to Lyon 137
    6. 3.6 Strada’s Contacts in Lyon: Sebastiano Serlio 149
    7. 3.7 Civis Romanus: Strada’s Sojourn in Rome 156
    8. 3.8 Commissions and Purchases: The Genesis of Strada’s Musaeum 174
    9. 3.9 Departure from Rome 183
  9. 4 Antiquario Della Sacra Cesarea Maesta: Strada’s Tasksat Court 188
    1. 4.1 Looking for Patronage: Strada’s Arrival at the ImperialCourt 188
    2. 4.2 The Controversy with Wolfgang Lazius 200
    3. 4.3 ‘Obwol Ir.Maj. den Strada selbst dier Zeit wol zu geprauchen’: Strada’s Tasks at Court 210
    4. 4.4 Indirect Sources Throwing Light on Strada’s Employment at Court 242
    5. 4.5 Conclusion 248
    6. 5 Jacopo Strada as an Imperial Architect: Background 251
    7. 5.1 Introduction: The Austrian Habsburgs as Patrons of Architecture 251
    8. 5.2 The Prince as Architect: Ferdinand I and Maximilian II asAmateurs and Patrons of Architecture 255
    9. 5.3 ‘Adeste Musae’: Maximilian’s Hunting Lodge and Garden in the Prater 290
    10. 5.4 The Imperial Residence: Status quo at Strada’s Arrival 307
    11. 5.5 The Architectural Infrastructure at the Imperial Court 319
    12. 5.6 Strada’s Competence as an Architect 331
  10. 6 Strada’s Role in Projects Initiated by Emperor Ferdinand I 339
    1. 6.1 The Hofspital 340
    2. 6.2 The Tomb of Maximilian I in Innsbruck 343
    3. 6.3 Interior Decoration 350
    4. 6.4 The Tanzhaus 352
    5. 6.5 The Stallburg 355
  11. 7 An Object Lesson: Strada’s House in Vienna 367
  12. 8 The Munich Antiquarium 383
    1. 8.1 The Commission 383
    2. 8.2 The Design of 1568 391
    3. 8.3 The Concept 393
    4. 8.4 Strada’s Project: The Drawings 398
    5. 8.5 Strada’s Project: The Building 401
    6. 8.6 The Interior Elevation 407
    7. 8.7 The Exterior Elevation and its Models 411
    8. 8.8 Conclusion: Strada’s Role in the Creation of the Antiquarium 421
  13. 9 The Neugebäude 430
    1. 9.1 The Tomb of Ferdinand I and Anna in Prague; Licinio’s Paintings in Pressburg 431
    2. 9.2 Kaiserebersdorf and Katterburg 432
    3. 9.3 Sobriety versus Conspicuous Consumption 437
    4. 9.4 Hans Jakob Fugger’s Letter 438
    5. 9.5 Description of the Complex 441
    6. 9.6 The Personal Involvement of Emperor Maximilian II 455
    7. 9.7 Ottoman Influence? 463
    8. 9.8 Classical Sources: Roman Castrametatio and the Fortified Palace of Diocletian at Split 467
    9. 9.9 Classical Sources: Monuments of Ancient Rome 480
    10. 9.10 Contemporary Italian Architecture 489
    11. 9.11 Strada’s Contribution 500
    12. 9.12 Conclusion: Strada’s Role in the Design of the Neugebäude 507
  14. 10 Other Patrons of Architecture 514
    1. 10.1 The Courtyard of the Landhaus in Graz 514
    2. 10.2 The Residence for Archduke Ernest 517
    3. 10.3 Other Patrons: Vilém z Rožmberk 520
    4. 10.4 Jan Šembera Černohorský z Boskovic and BučoviceCastle 524
    5. 10.5 Christoph von Teuffenbach: The House in Vienna and the Castle at Drnholec 530
    6. 10.6 Reichard Strein von Schwarzenau and the Castle at Schwarzenau 534
    7. 10.7 Conclusion 542
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Jacopo Strada and Cultural Patronage at the Imperial Court