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sixteenth- and early seventeenth- century stucco ceilings that have recently
been restored [Fig. 10.28]. With its quite huge bastion-like pavilions at the cor-
ners of the main block [Fig. 10.27], this again appears to be a variation on the
‘palazzo in fortezza’ type, perhaps based on Serlio’s two related projects ‘Della
casa del principe tiranno per far fare alla campagna’ [Fig. 10.29–10.30].28
Any speculation as to Strada’s possible involvement in the design for the
main block must depend on future research providing more evidence as to its
original appearance. Yet the castle preserves one feature relatively intact that
does allow some further discussion: the entrance portal, originally part of the
demolished gatehouse, which is dated 1583 [Figs. 10.31–10.32]. This is a beau-
tiful example of Italian classical architecture, very close to Serlio and to Gi-
ulio Romano, and in its sobriety close to Strada’s own house and the Stallburg.
Considering that this is exactly the time that Strada was involved in projects
at Bučovice, elsewhere in Moravia, I am tempted to tentatively attribute its
design to him. In any case I think it can be considered as a prime example of
the influence of Strada’s presence and of the documentary materials available
to his patrons in his Musaeum.
10.6 Reichard Strein von Schwarzenau and the Castle at Schwarzenau
There is still one more example where it seems possible that Strada’s materials
and his personal comments on them may have influenced one—or perhaps
even more—of a patron’s projects. The patron in question was Reichard Strein
von Schwarzenau, a young and cultured member of one of the richest Prot-
estant noble families from Lower Austria [Fig. 10.33].29 Born in 1538, he had
studied in Padua and Strasbourg, after which he soon became a trusted servant
of Maximilian ii, filling in quick succession ever higher posts. In 1567, when he
was only 29 years old, he became president of the Hofkammer, the principal
financial official at court. Already at twenty-one he had published in Geneva
a small treatise on the genealogies of ancient Roman gentes, and he contin-
ued this study with sufficient diligence to publish in 1571 a far more ample
version, printed by Paulus Manutius in Venice, with a dedication to Archduke
28 Munich ms. of the Sesto Libro, bsb-hs Cod. Icon. 189, fol. 27v–29r.
29 The name was and is also spelled Streun; I have opted for the spelling used on the titlep-
age of Reichard Strein’s own publications (see following note); on Strein, see Grossmann
1929; Evans 1973/1984, pp. 127–128.
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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