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This is very close in design and feeling to the so-called ‘Schöne Säle’ located
under both the colonnades of the main building of the Neugebäude [Fig. 9.61].
Taking the place of the substructure of the South Gallery at Split, these can be
considered as a Renaissance interpretation of the antique cryptoporticus, as at
Anet doubtless a conscious interpretation.78
9.9 Classical Sources: Monuments of Ancient Rome
Though the Neugebäude does not imitate elements of Diocletian’s Palace ex-
actly, there is some correspondence in its general lay-out and some similiarity
in various individual elements. The remnant of similar ancient monuments
in Rome itself were much better known than Split, through countless learned,
often illustrated publications, as well as through many topographical prints.
Moreover Maximilian could consult the huge quantity of visual documenta-
tion in the field in Strada’s collection, including sketches and reconstructions
by Raphael, Giulio Romano and Sebastiano Serlio and also including a set of
measured drawings of ancient monuments prepared by Strada himself.79
78 To avoid confusion, I should note that in the literature on the Neugebäude the term ‘Kryp-
toporticus’ is occasionally used for the subterranean corridors leading down to the Lower
garden from the Mittelrisalit. I will refrain from using the term cryptoporticus to refer to
any of the existing spaces in the Neugebäude, using ‘Schöne Säle’ or ‘lower halls’ for the
principal spaces on the lower level of the main building, and ‘garden passages’ for the
corridors to the garden.
79 Index sive catalogus, nr 34: ‘Item aliquot libri, manu delineati, de aedificiis et architectura,
quibus imprimis delector, et quos ipsemet delineavi de antiquissimis aedificiis, et quan-
tum fieri potuit in unum contraxi; una cum partibus dimensuratis’.
Figure 9.60 Philibert de l’Orme, Cryptoportique at the Château d’Anet, built 1547–1552 for
Diane de Poitiers.
Figure 9.61 The lower hall in the west wing of the Neugebäude (looking east).
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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