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Chapter
11548
As described above, Strada’s house [above, figs. 7.9–7.13] consisted of two
wings each of two principal storeys above a rustica ground floor, which were
set at a right angle along the Vordere Schenkengasse and the small piazza in
front of the Löwelbastei. It held twelve principal rooms heated by traditional
tiled stoves, at least one of which was a reception room or hall sufficiently large
for the informal banquet, masque and dance organized in 1579 for Maximil-
ian’s youngest sons, the Archdukes Matthias and Wenzel. At that time its top
floor was sufficiently ample and well-appointed both to lodge Juraj (György)
Drašković, Archbishop of Kalocsa, Ban of Croatia and Chancellor of Hungary,
and to house the offices of the Hungarian chancery.
Even before that, the house had occasionally provided lodgings for impor-
tant visitors to court, such as Hans Jakob Fugger—Strada’s patron and a per-
sonal friend—and Count Palatine Georg Johann i of Veldenz-Lützelstein. To
thank the Duke of Mantua for the benefice conferred on his son Paolo, Strada
courteously offered him the use of his house ‘which, once it is finished, will be
suitable to lodge a prince’. When Strada’s financial needs became pressing he
more seriously offered it as a possible residence to Vilém z Rožmberk, princi-
pal magnate of Bohemia—who knew it well because, like Fugger, he habitually
lodged there when at court—and to the Duke of Bavaria for his son, Prince
Ferdinand. This all leads one to expect that the house was suitably and stylish-
ly furnished, and in fact Hubert Languet, who repeatedly visited it, could not
name another house in Vienna ‘of similar elegance and provided with so many
features conducive to commodious living’. According to Hans Jakob Fugger it
was built and decorated ‘all’ Italiana’ which—in view of Strada’s interests—
implies that its architecture and furnishing adhered to the strict classicism of
the High Renaissance as developed in Rome, in Mantua and in Venice.1
11.2 High-ranking Visitors: Strada’s Guest Book and Ottavio’s
Stammbuch
Strada’s house and its contents were sufficiently interesting to draw illustrious
visitors even at a quite early date: in August 1565, when large parts of the house
must still have been under construction, it was visited several times by Alfonso
ii d’Este, Duke of Ferrara, on a state visit to his prospective brother-in-law [Fig.
11.1]. Accompanied by his young kinsman, Francesco Gonzaga, Count of No-
vellara, he came to see ‘le medaglie et l’altre anticaglie del Strada mantovano’,
but also took note of the quality of its Italianate architecture. Strada proudly
1 Cf. above, Chapter 7.
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book Jacopo Strada and Cultural Patronage at the Imperial Court - The Antique as Innovation, Volume 2"
Jacopo Strada and Cultural Patronage at the Imperial Court
The Antique as Innovation, Volume 2
- Title
- Jacopo Strada and Cultural Patronage at the Imperial Court
- Subtitle
- The Antique as Innovation
- Volume
- 2
- 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
- 542
- Categories
- Biographien
- Kunst und Kultur
Table of contents
- 11 The Musaeum: Strada’s Circle 547
- 11.1 Strada’s House 547
- 11.2 High-ranking Visitors: Strada’s Guest Book and Ottavio’s Stammbuch 548
- 11.3 ‘Urbanissime Strada’: Accessibility of and Hospitality in the Musaeum 554
- 11.4 Intellectual Associates 556
- 11.5 Strada’s Confessional Position 566
- 11.6 Contacts with Members of the Dynasty 570
- 12 The Musaeum: its Contents 576
- 12.1 Introduction 576
- 12.2 Strada’s own Descriptions of his Musaeum 577
- 12.3 Strada’s Acquisitions for Duke Albrecht V of Bavaria 580
- 12.4 Strada’s own Cabinet of Antiquities 592
- 12.5 Acquisitions of Other Materials in Venice 599
- 12.6 Commissions in Mantua 610
- 12.7 ‘Gemalte Lustigen Tiecher’: Contemporary Painting in Strada’s Musaeum 615
- 12.8 Conclusion 628
- 13 Books, Prints and Drawings: The Musaeum as a centre of visualdocumentation 629
- 13.1 Introduction 629
- 13.2 Strada’s Acquisition of Drawings 630
- 13.3 ‘Owls to Athens’: Some Documents Relating to Strada’s GraphicCollection 634
- 13.4 The Contents of Strada’s Collection of Prints and Drawings 641
- 13.5 Later Fate of Strada’s Prints and Drawings 647
- 13.6 Drawings Preserved in a Context Linking Them withStrada 649
- 13.7 Strada’s Commissions of Visual Documentation: Antiquity 673
- 13.8 Strada’s Commissions of Visual Documentation: Contemporary Architecture and Decoration 692
- 13.9 Images as a Source of Knowledge 711
- 13.10 Conclusion 717
- 14 ‘Ex Musaeo et Impensis Jacobi Stradae, S.C.M. Antiquarius, CivisRomani’: Strada’s Frustrated Ambitions as a Publisher 719
- 14.1 Is There Life beyond the Court? 719
- 14.2 Strada’s Family 719
- 14.3 Ottavio Strada’s Role 725
- 14.4 The Publishing Project: Strada Ambitions as a Publisher 728
- 14.5 The Musaeum as an Editorial Office? 739
- 14.6 Financing the Programme 752
- 14.7 The Index Sive Catalogus 760
- 14.8 Strada’s Approach of Christophe Plantin 775
- 14.9 The Rupture with Ottavio 781
- 14.10 Strada’s Testamentary Disposition 783
- 14.11 Conclusion: The Aftermath 786
- 15 Le Cose dell’antichità : Strada as a Student of Antiquity 799
- 16 Strada & Co.: By Appointment to His Majesty the Emperor 830
- 16.1 Strada as an Imperial Antiquary and Architect 830
- 16.2 Strada’s Role as an Agent 836
- 16.3 Strada as an Independent Agent 840
- 16.4 ‘Ex Musaeo Iacobi de Strada’: Study, Studio, Workshop, Office, Showroom 843
- 16.5 Strada’s Influence: An Agent of Change 849
- 16.6 Conclusion: Strada’s Personality 863
- 16.7 Epilogue: Back to the Portrait 868
- Appendices 877
- Chronological List of Sources 915
- Bibliography 932
- List of Illustrations 986
- Index 1038